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ILLUSTRATED CATALOGUE 



OF 



ETCHINGS 



BY 



AMERICAN ARTISTS 




ALBERT ROULLIER'S ART GALLERIES 

410 SOUTH MICHIGAN BOULEVARD 
70! FINE ARTS BUILDING 

CHICAGO 



*z : ttz*m&imr*HG'$zi& *z 



ILLUSTRATEE 




• 



OF 



ETCHINGS 



BY 



AMERICAN ARTISTS 



WITH BIOGRAPHICAL SKETCHES 
BY 

H. H. TOLERTON 




1913 
ALBERT ROULLIER'S ART GALLERIES 

410 SOUTH MICHIGAN BOULEVARD 

701 FINE ARTS BUILDING 

CHICAGO 



• ft4- 



. 



Ei)t Hafcrsitif $rrBB 

R. R. DONNELLEY & SONS COMPANY 
CHICAGO 



Note 

A LT HOUGH on the day of issuing The Catalogue 
jC\^ of Etchings by American Artists I am able to 
supply each print mentioned at the price quoted, the steady 
advance in the value of certain rare prints sometimes renders 
it impossible for me to supply a duplicate impression at 
the original price. 

After the Catalogue has been examined, I should be 
glad to send a selection of the Etchings themselves, for in- 
spection, by express or mail, to any address. 

I pay all charges of transmission, and my correspond- 
ents need feel under no obligation to purchase, if the 
Etchings themselves do not satisfy them in every respect. 

Correspondents whom I do not already know, and who 

may desire to have Etchings sent on selection, will recognize 

the propriety of introducing themselves with a proper 

reference. 

ALBERT ROULLIER. 

January, 1913. 



MR. ALBERT ROULLIER takes pleasure in announcing 
that he will continue to make a specialty of the master- 
pieces of the great engravers and etchers, both of the 
present day and of centuries past, particularly those works which 
have taken definite rank as masterpieces, and are so designated in 
the standard books of reference on the subject. It is undoubted- 
ly true that such works of art are of permanent, and in many 
cases of increasing value, and their rarity renders them exceed- 
ingly desirable as choice possessions. Many works of this class 
are becoming exceedingly difficult to obtain, there being such a 
very great demand for them and their number being so limited. 
Search in Europe this season has demonstrated the fact that never 
before has it been so difficult to procure those masterpieces in 
black and white in the possession of which the collector takes 
such joy; and as the price of any commercial article is regulated 
by the ratio of supply and demand, in some instances the prices 
of the works of the best artists have considerably increased. 

Notwithstanding these facts, however, the folios in the 
Roullier Art Galleries will be found to contain an exceedingly 
choice assortment of Engravings and Etchings by the best 
artists, affording an unusual opportunity to obtain rare and fine 
things, many of which are unprocurable elsewhere. 

Particular attention has been given to securing examples by 
the greatest men of the various schools, both old and modern, 
and at the Galleries may always be seen a representative collec- 
tion of the Old Masters of Line Engraving and Etching, such as : 
Martin Schoengauer Joseph Ribera 

Glockenton Andrea Mantegna 

Israel Van Meeken J. B. Piranesi 

Master of the Die George Schmidt 

Albert Diirer Sir David Wilkie 

Henri Aldegrever Francesco Goya 

George Pencz Rembrandt 

H. S. Beham Adrian Van Ostade 

Lucas van Leyden Paul Potter 

Henri Goltzius Antoine Van Dyck 

Claude Le Lorrain Anthony Waterloo 

W. Hollar Cornelius Visscher 

Jacques Callot Jacques Ruysdael 

Marc Antonio Adrian van de Velde 

Antonio Canaletto 



The folios are particularly rich in choice examples of the 
old French and Italian Schools of Line Engraving of the seven- 
teenth and eighteenth centuries and the eighteenth century 
English School of Mezzotint and Stipple Engraving from the 
plates of such famous men as : 

Robert Nanteuil Valentine Green 

Gerard Edelinck C. H. Hodges 

Antoine Masson Wm. Pether 

Les Drevets J. Jones 

Jean Morin John Young 

Jacob Houbraken James MacArdell 

J. G. Wille George Clint 

Charles Bervic S. W. Reynolds 
Auguste B. Desnoyers John Raphael Smith 

Raphael Morghen J. Smith 

Giuseppe Longhi Charles Turner 

William Sharp James Watson 

Sir Robert Strange Thomas Watson 

Paolo Toschi J. Ward 

Edward Mandel Wm. Ward 

W. Dickinson Samuel Cousins 

Richard Earlom Richard Houston 

John Dixon Francesco Bartolozzi 

The Roullier Galleries make a specialty of the portraits of 
famous men and women of great historic periods, as well as of the 
present day; including Kings and Queens, Presidents, English 
Jurists, and other celebrities of the Legal, Medical, Literary, 
Dramatic and Musical professions, both European and American. 
> Many of these Prints are very rare and done by the well- 
known masters of Line Engraving, Mezzotint and Etching and 
consequently are valuable as works of art aside from their interest 
as portraits. 

Sacred and classical subjects are also well represented in 
the portfolios. 

In addition the modern French, Swedish, Spanish, British, 
and Dutch etchers (as well as those American etchers not other- 
wise mentioned in this catalogue) are represented by a well- 
chosen selection from the work of such well-known artists as: 

Sir Seymour Haden Axel Haig 

D. Y. Cameron Mortimer Menpes 

Sir Frank Short Samuel Palmer 

Charles J. Watson Martin Hardie 

Hedley Fitton Frank Brangwyn 



Andrew Affleck 
Nathaniel Sparks 
Col. R. Goff 
Percival Gaskell 
Johnstone Baird 
Albany Howarth 
E. S. Lumsden 
James Tissot 
James McBey 
Malcolm Osborn 
Charles Holroyd 
John Fullwood 
William Strang 
E. Robertson 
J. H. Mackensie 

E. M. Synge 
William Walker 
Stanley Anderson 
Fred Burridge 
Fred S. Farrell 

F. Marriott 

E. L. Lawrenson 

Alphonse Legros 

Felix Bracquemond 

J. B. Jongkind 

Chas. Storm van 's Gravesande 

Felix Buhot 

Mariano Fortuny 

Charles Meryon 

Anders Zorn 

J. F. Millet 

Camille Corot 

Charles Daubigny 

Charles Jacque 

Auguste Lepere 



Gustave Leheutre 
Ernest Meissonier 
Ferdinand Gaillard 
Maxime Lalanne 
Paul Raj on 
Jules Jacquemart 
Adolphe Appian 
Francois Simon 
Edgar Chahine 
Eugene Bejot 
Jean Frelaut 
Camille Fonce 
Leopold Flameng 
Charles Waltner 
Paul Helleu 
Brunet-Debaines 

J. McNeill Whistler 
Otto H. Bacher 
Mary Cassatt 
F. S. Church 
Frank Duveneck 
Henry Farrer 
Thomas R. Manley 
Peter Moran 
Thomas Moran 
Charles W. Mielatz 
J. C. Nicoll 
Charles A. Piatt 
Stephen Parrish 
Edith Loring Peirce 
Ernest Roth 
George Senseney 
James D. Smillie 
C. A. Vanderhoef 

and many other artists. 



The Roullier Booklets 

AID, GEORGE CHARLES ----- Painter -Etcher 
By Lena McCauley. 14 illustrations 

CHANDLER, GEORGE WALTER - Painter-Etcher 

By Marie Bruette. 6 illustrations 

FRELAUT, JEAN ------- Painter-Etcher 

By Alice Roullier. 8 illustrations 

GALTON, ADA -------- Painter-Etcher 

By Edward Ertz. 8 illustrations 

GLEESON, C. K. - - - - - - - - Painter-Etcher 

By Lena McCauley. 6 illustrations 

GRAVESANDE, CHARLES STORM VAN'S - Painter-Etcher 
By Marie Bruette. 

HORNBY, LESTER G. ------ Painter-Etcher 

By Marie Bruette. 7 illustrations 

LEPERE, AUGUSTE ------- Painter -Etcher 

By Alice Roullier. 8 illustrations 

MACLAUGHLAN, DONALD SHAW - Painter-Etcher 

By Lena McCauley. 8 illustrations 

NORDFELDT, B. J. OLSSON ----- Painter- Etcher 
By Lena McCauley. 7 illustrations 

SCHNEIDER, OTTO J. ----- - Painter-Etcher 

By Lena McCauley. 1 1 illustrations 

SIMON, T. FRANCOIS ------ Painter-Etcher 

By Alice Roullier. 8 illustrations 

SMITH, J. ANDRE ------- Painter-Etcher 

By Lena McCauley. 6 illustrations 

WASHBURN, CADWALLADER - Painter-Etcher 

By Marie Bruette. 13 illustrations 

WEBSTER, HERMAN A. ----- - Painter -Etcher 

By Lena McCauley. 9 illustrations 

WHITE, CHARLES HENRY ----- Painter -Etcher 
By Henry Winslow. 9 illustrations 

SOME ETCHERS OF ARCHITECTURE— JOSEPH PENNELL, 
D. Y. CAMERON, CHARLES MERYON 

By Lena McCauley. 26 illustrations 

THE INFLUENCE WHICH ART HAS HAD UPON SOCIETY 

Illustrated 

A QUIET PLACE WORTH SEEING 

Illustrated 

10 




Page 

George Charles Aid ....... 13 

George Walter Chandler . . .... 23 

Charles W. Dahlgreen .... . . 31 

C. K. Gleeson • • • 37 

Lester G. Hornby ........ 45 

Katharine Kimball ..... ■ • 55 

Bertha Lum ......... 63 

Donald Shaw McLaughlan . . . . 71 

John Marin ......... 81 

Bror. J. Olsson-Nordfeldt ... . . 87 

Joseph Pennell .... . . 97 

Otto J. Schneider . . . . . . . -105 

J. Andre Smith ... . . . . 113 

Everett L. Warner . . . . . . .121 

Cadwallader Washburn . . . . . . 129 

Herman A. Webster .... ... 139 

Charles Henry White ... . 145 



George Charles Aid 



'3 




u 




PRACTICALLY from the beginning of his career as an 
etcher, Mr. Aid has had the attention and the encourage- 
ment of the public — the public which discriminates, and 
which enjoys picturesque and historic scenes simply and graphic- 
ally placed by a skilled hand onto the copper plate. 

Born about thirty-five years ago in Quincy, Illinois, the artist 
received his earliest artistic training at the St. Louis School of 
Fine Arts. Like most young artists, he drifted in due course 
to Paris, where he continued his studies under the teachings of 
Jean Paul Laurens and Benjamin Constant. 

His painted canvases exhibited at the Paris Salon and at 
many important exhibitions in the United States have attracted 
attention by their sterling merit; but it is to his fame as an 
etcher that we desire to call attention at the present time. 

His etchings as well as his paintings have been admitted to 
the Salon, and in 1904 he received the award of a silver medal in 
the Department of Fine Arts at the Louisiana Purchase Exposi- 
tion in St. Louis. 

In 1906 a selection of his etchings was shown in an exhibi- 
tion made by four young American artists at the American Art 
Association in Paris. 

Since that time, however, the artist has been the recipient 
of additional honors, proving that interest and enthusiasm in the 
work he is producing have not abated. 

Mr. Aid always tells his story clearly, forcefully and con- 
vincingly. 

He excels in composition. His plates always form a picture 
harmonious and pleasing, and this, added to the fact that he 
prints his own proofs, thereby assuring precisely the effect desired, 
accounts, in large measure, for his popularity. 

His subjects cover a fairly large area — scenes in Granada, 
Holland, Belgium, Venice, Florence, France, and of course 
Paris. 

Some of his most successful plates are those etched by the 
artist in the chateau country of the Loire — Blois, Amboise, 

15 



Chenonceau, Azay-le-rideau and other famous places, which 
have been rendered with charm and insight. 

He has rendered the architecture of the chateaux faithfully, 
while not neglecting to impart the suggestion of romance which 
clings about these historic homes of Old France. 

His newer plates including scenes in Rouen, Beauvais, 
Carcassonne, Albi, and also the new Italian ones of San Remo 
and other places, have all the characteristics of his former prints, 
with the added strength that experience and study always bring 
to the artist who is ever striving to conquer new problems. 



16 




o 




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r o 



« 



1/ 




Chateau de Chinon (Catalogue No. 47) 




Venice {Catalogue No. 55) 



18 



GEORGE CHARLES AID 

The sizes in this and all other catalogues represent the full measurement of the plate 
including plate mark and lettering, and in each instance the width is given first. 

FRENCH SERIES 

PJRIS 

i LA CITE (1334x8^) - - - - - - - $15.00 

2 COUR DE ROHAN (6x734) ----- 8.00 

3 HOTEL DE CLUNY ( 9 Kx7>,)- - - - - 15.00 

4 PORT DE LA RAPEE (6^x7)- - '- - - 10.00 

5 MARCHE AUX POMMES (io3 4 x8y 2 ) - - - 15.00 

6 NOTRE DAME ( 5 H x 3K) - - - - - - 8.00 

7 PONT SAINT MICHEL (n'.xg.^) - - - 12.00 

8 PONT NEUF (6x3^) ------- 9 . 00 

9 PONT NEUF NO. 2 (6K x 7) ----- I2 .oo 

10 PONT NEUF NO. 4 (13K * 9 X A) - - - - 15.00 

11 PONT NEUF NO. 5 (8x634) ----- I2 . 00 

12 PONT MARIE (8^ x 8^) ------ io .oo 

13 LA CONCIERGERIE (8^x10) - - - - 15.00 

14 PASSAGE DES CARMELITES (7^x934) - - 12.00 

15 LE CORDONNIER (10^ x 8) - - - - - 12.00 

16 LA PENICHE (n34x634) ------ 15.00 

17 SAINT NICHOLAS DU CHARDONNET 

(6^2x934) - - - - - - - - - 10.00 

18 LE PONT DE PUTEAUX (9K x 6%) - - - 12.00 

19 LA SEINE A PUTEAUX ( 5 3 4 x8;4) - - - 12.00 

20 NOTRE DAME D'AMIENS (7x11)- - - - 15.00 

21 LA PLACE DES HUCHERS, AMIENS 

(934x1134) --------- t. 5 . 00 

22 L'EGLISE SAINT PIERRE, BEAUVAIS 

(6>£ x 934) - - - - - - - - - 12. 00 

23 RUE DE L'EVECHE, BEAUVAIS (9 x 7X) - - 12.00 

24 LA FLECHE, ROUEN (s4xn4) - - - - 12.00 

25 SAINT OUEN, ROUEN (9x11^) - - - - 12.00 

26 MARTIQUES (5^x8^) - - - - - - 10.00 

19 



27 LE QUAI DE BRESSON, MARTIQUES 

(7^ x 6^) - --------- $10.00 

28 ALBI (0^x7^) -------- io .oo 

29 CATHEDRALE SAINT CECILE, ALBI 

(6^x9^2) - - - - - - - - - 10.00 

30 LE CASTELVIEL, ALBI (5^x7^)- - - - 10.00 

31 CARCASSONNE (6^x7^) - - - - - 12.00 

32 LE PONT VIEUX, CARCASSONNE (g}i x SJ4) - 12.00 

33 COIN DU MARCHE, LOUVIERS (7^x9^) - 1500 

34 LA VIEILLE MAISON A LOUVIERS (7^x8) - 12.00 

35 QUIMPERLE, BRITTANY (3^x6^) - - - 9.00 

36 CHARTRES --------- io .oo 

37 PORT D'HONFLEUR (7^ x 10^) - - - - 15.00 

38 DANS LA VALLEE DE L'EURE (10^x7^) - 1500 

39 LA CONCIERGE -------- 10.00 

40 LE JEUNE TAUREAU - - - - - - - 12.00 

41 CHATEAU DE BLOIS (8^x6)- - - - - 10.00 

42 CHATEAU DE BLOIS, PORTE D 'ENTREE 

(6 x 8^) - - - - - - - - - - 10.00 

43 CHATEAU DE BLOIS, L'ESCALIER FRANgOIS I 

(5^x8^)- - - - - - - - - - 10.00 

44 LE LOIRE A BLOIS (7^ x 5^) 8.00 

45 CHATEAU D'AMBOISE (9K x 7X) - - - 10.00 

46 CHAPELLE DU CHATEAU D'AMBOISE 

%/4 x 5K) - - - - - - - - - - 10.00 

47 CHATEAU DE CHINON (o>£ x 7K) - - 10.00 

48 CHATEAU DE CHAMBORD (12^x7^) - - 10.00 

49 CHATEAU DE CHAMBORD, BORDS DE LA 

COSSON ( 9 K x 6K) - - - - - - - IOO ° 

50 CHATEAU DE CHENONCEAUX (9^x7^) - 10.00 

51 CHATEAU DE COUCY (ioKx8K)- - - - 12.00 

52 BALCON, CHATEAU D'AZAY LE RIDEAU 

(8 x 4}4) ---------- 10.00 

53 CHATEAU DE LANGEAIS (8J< x s l A) - - - 9- 00 

54 CATHEDRALE SAINT GATIEN, TOURS 

(8Xx 5 M)- --------- 8.00 



20 



ITALIAN SERIES 

55 VENICE (plate destroyed — \o>Y A x 6 l / 2 ) - - - - $10.00 

56 FERRUCHIO, VENICE (8^x6) - - - - 10.00 

57 TWILIGHT, VENICE (7H * 9H) ... - I4 . 00 

58 EVENING, VENICE (6 x 4 K) - - - - - 8.00 

59 DESDEMONA'S PALACE, VENICE (8' 4 x 5 K) - 900 

60 THE BALCONY, VENICE (5 x 6}4) - 8.00 

61 CASA GISMONDA, SAN REMO (6' 4 x 9 1 /) - - 10.00 

62 LES DEUX PONTS, SAN REMO (8^x10^) - 15.00 

63 PONTE DEI BORGIA, SAN REMO (9K x 8J/ 2 - 12.00 

64 LES BALCONS, ISOLABONA (6^x8^) - - 10.00 

65 ISOLABONA (10^ x 8^) - - - - - - 15.00 

66 LES OLIVIERS (9^x6) - - - - - - 10.00 

67 FRANCESCA (53^x8^) - - - - - - 10.00 

68 PIAZZA PARROCHIALE, DOLCTACQUA 

(7 x g*4) - - ~ - - ~ ~ - - - 12.00 

69 IL FABRO (8 I 4 x6K) - - - - - - - 10.00 

70 MADONA DELLACHE (4H x 8^0 - - - - 8.00 

71 CANAL ROTTERDAM (plate destroyed— $y 2 x 7.1.4) 10.00 

72 WINDMILL AT ZUYNDRECHT, HOLLAND 

(iH x sH) ---------- 9 . 00 

73 WINDMILL AT MECHELEN, BELGIUM 



x 8) - - - - - - - - - - 9. 00 

74 COURTYARD, SEVILLE, SPAIN (5x6) - - 8.00 




23 




24 




MR. CHANDLER is a young American artist who, al- 
though he has been etching no more than five years, 
has already won for himself an enviable position among 
modern etchers by the substantial merit of his prints. 

The artist, a native of Milwaukee, Wisconsin, began his 
artistic career by entering the field of journalistic illustration 
in New York City during his early manhood. 

However, satisfying himself that his ambitions as an artist 
would never be fully realized as an illustrator only, he began 
traveling extensively, finally settling in Paris, where he became 
affiliated with the Julian Academy. 

In 1908 he was awarded an Honorable Mention at the Salon, 
and the same year a collection of his prints was taken by the 
City of Paris to be placed in the Petit Palais. 

Mr. Chandler, besides being an excellent draughtsman, 
understands thoroughly the technic of etching, the careful biting 
of the plate, the laborious and painstaking toil of printing the 
finished proof. 

During the last few years the artist has devoted himself 
more enthusiastically than ever to etching, as the decided strength 
and charm of his new plates abundantly prove. 

Among the thirty-seven prints we catalogue, all of which have 
the stamp of the artist 's personality expressed in a medium which 
seems especially adapted to the rendering of his ideas, we would 
single out as particularly worthy of mention, "The Minarets" 
and "The Burning Ghats — Benares," two plates which un- 
doubtedly owe a large part of their charm to the suggestion of 
the mystery and mysticism of the Far East. 

Then there are bits of Old Rouen, such as the delightful 
"Portail de St. Maclou," and many plates inspired by the pictur- 
esqueness of the streets of the old town; also a variety of brilliant 
and harmonious plates of Paris, notably "Le Pont Neuf, " "Le 
Dejeuner" and " Aux Bords de la Seine." 

Among his Italian Series, his plates of the Ponte Vecchio, 
Florence, are among the most successful and popular. 

25 



Although Mr. Chandler, as one may readily observe, has 
traveled for the most part in well-worn paths, it is not a twice 
told tale that he offers us, but a story and a picture that are 
quite his very own. 

With fresh vision he has confidently approached the tradition- 
al subjects, and the result has more than justified his choice. 



26 




Burning Ghats, Benares, India (Catalogue No. 35) 




Les Travaux du Metro, Paris (Catalogue No. 7) 



27 




■ 



The Thames at Chelsea {Catalogue No. ig) 







La Rue Ruissel, Rouen {Catalogue No. 12) 
28 



GEORGE WALTER CHANDLER 

{In each instance the width is given first) 
FRENCH SERIES 
PARIS 

i UN VIEIL AMI CHARLOT (7 x 4X) - - - % 8.00 

2 LA SCIERIE (7x5) ------- I0 .oo 

3 CHEZ LE PLANEUR (7^x5^) - - - - 10.00 

4 DANS L'AVENUE DE SAXE (10x7) - - - 10.00 

5 LE DEJEUNER (8x5)- - - - - - - 10.00 

6 DRAUGHT HORSES {8x^4) ----- 5 oo 

7 LES TRAVAUX DU METRO ( 4 3 4 x 5' ,) - - 10.00 

8 LE PONT NEUF (12 x 10K) ----- 2 o.oo 

9 LE PONT NEUF (9 x 12X) - ----- 15.00 

ROUEN 

10 LA RUE DE LA GROSSE HORLOGE (8^ x 12)- 15.00 

11 PORTAIL DE SAINT MACLOU (5^x10^) - 10.00 

12 LA RUE RUISSEL (9x14^) .__"!_ IS . 00 

13 LA ROBEC (7x10^) ------- 10.00 

14 LA FLECHE (5 x 10K) - ------ io .oo 

15 COUR DU CERF, PONT DE L'ARCHE 

(7>4 x 5;kQ- - - - - - - - - - 10.00 

16 THE OLD LOCK, PONT DE L'ARCHE 

(10x63^) ---------- 8.00 

17 LE MOULIN A MORET ( 9 K x 6) - - - - 10.00 

18 SURREY CANAL, LONDON (10^x7) - - - 7.50 

19 THE THAMES AT CHELSEA (14X x 8)4) - - 1500 

20 CATHEDRAL AT GENEVA ( 4 ^ x 9) - - - 10.00 

21 LE ROBEC A DARNETAL (9x10^) - - - 10.00 

22 PLACE SANTA CLARA, NICE ($}{ x nJ4) - - 10.00 

IT A II AN SERIES 

23 SAN PIETRO IN BANCHI, GENOA (5x9^) - 10.00 

24 SHIPYARD, CAMOGLI, ITALY (11^x10^) - 10.00 

25 PIAZZA SAN SEBASTIANA, SAN REMO 

(8Xx 7 K)- --------- 7.50 

29 



26 TORRENTE SAN ROMOLO, SAN REMO 

(1234 x 1 1) - $15.00 

27 PONTE TRINITA, FLORENCE (8^4 x 6^4) - 10.00 

28 PONTE VECCHIO, FLORENCE 

(7x7^) ----- 10.00 

29 PONTE VECCHIO, FLORENCE 

(9V4X12K) ----- 15.00 

30 PONTE VECCHIO, FLORENCE 

(i5>4 x 10) ------- 20.00 

31 VIA VECCHIO, PERUGIA (6x12^) 15.00 

32 VIA DELL' AQUILA, PERUGIA (5x7) 10.00 

33 ARCO D ELLA MANDOLA, PERUGIA (5K x 8)- 10.00 

34 VIA RITORTA, PERUGIA (6x10^) 15.00 

35 THE GHATS, BENARES, INDIA (n^xoK) - 1500 

36 THE MINARETTES, BENARES, INDIA 

(ll3^x IOJ.<0 -------- I5-00 

37 STREET IN SFAX, ALGIERS (7^x12.^) - 15.00 



30 




31 




32 




THAT the impulse to find expression for ideas awakened 
by the contemplation of beauty is inherent in the nature of 
the born artist, and will, sooner or later, "find a way," is 
wonderfully demonstrated in the career of Charles W. Dahlgreen. 

Born in Chicago in 1864, at an early age he manifested a lean- 
ing toward art, and at his first opportunity, when he was twenty- 
two years of age, he went to Europe, entering the Arts and 
Crafts School at Diisseldorf, Germany. 

There he remained about one year and a half, and during that 
period took a first prize for one of his paintings, a study of still life. 

Coming back to Chicago, the untoward circumstances of his 
life were such that he was compelled to abandon an art career 
and devote himself to business. 

"But," says the artist, "after sixteen years, during which 
time I had no opportunity to study or work on artistic lines, I 
went, one day, up into the attic and got down my old palette, on 
which I even found some of the old paint encrusted by time. I 
was then forty years of age and I started my art career all over 
again, studying for the year 1904 with John Johansen and 
Charles Francis Browne." 

The next year the artist entered the Art Institute of Chicago, 
and after a period of study in that institution he went abroad 
for a second time, spending a year of travel and study in Ger- 
many, Holland, France, and Italy. 

Mr. Dahlgreen 's paintings as well as his etchings have been 
shown in many European and American cities, and although he 
first began to etch in 1908, he developed so rapidly his own 
system of landscape etching that he exhibited a selection of his 
prints in the Paris Salon of 1909. 

The artist's etched work consists entirely of landscape sub- 
jects, and his style, though different from that of other artists 
who have etched similar scenes, has poetic feeling and a composi- 
tion always pleasing. Views of the open country, frequently 
with masses of rolling white cloud which give an atmosphere of 
great spaces, are among his favorite themes. "A Bit of Country 

33 



Road," "After a Spring Rain," "A Poem" are some of his 
happiest efforts, and in the somewhat new experiment of printing 
his etchings in colors he has achieved some very clever work. 

Constantly striving after a higher ideal and full of enthusiasm, 
we are confident that in the future a large measure of success 
and fame will come to the artist. 



34 




Heatherlands {Catalogs No. 6) 




On a Country Road No. 2 {Catalogue No. p) 
35 



CHARLES W. DAHLGREEN 

{In each instance the width is given first) 

i FALKENBERG, GERMANY (12x10) - - - $7.50 

2 WESEL, GERMANY (6^x4^)- - - - - 5.00 

3 NURNBERG, GERMANY (8x5) - - - - 6.00 

4 ON THE HILL TOP (7 x 5K) - - - - - 6.00 

5 A BACKWATER {drypoint, sH x sH) ~ - - 5-°° 

6 HEATHERLANDS (10 x 8) - - - - - - 12.00 

7 SUNSET CLOUDS (6^x5)- - - - - - 6.00 

8 A CLOUDY DAY (5^x4^) - - - - - 6.00 

9 ON A COUNTRY ROAD, No. 2 (5^ x 8) - - 8.00 

10 ON A COUNTRY ROAD, No. 3 (12K x 17) - - 15.00 

11 AT NIGHT ( 4 Kx6K) - - 5- 00 

12 EVENING ON THE MARSHES, No. 1 (6K x 5K) 5.00 

13 EVENING ON THE MARSHES, No. 2 (6^x5^) 500 

14 CYCLONE CLOUDS (6K x s l A) - 5 • 00 

15 CONCERT EVE (10x8) - - - - - - 10.00 

16 A POEM, NO. 2 (6x8)- 6.00 

17 AFTER A SPRING RAIN (6x8) - - - - 6.00 

18 THE WILLOWS (8x6) - - - - 6.00 

19 THANKSGIVING (3K x 4H) 3 • 50 

20 CHRISTMAS (7X5K) - - - - 6.00 

Etchings in Colour 

21 SUN BEHIND CLOUDS (7 x 5^) - - - - 6.00 

22 THE VALLEY IN WINTER (7 x 5^) - - - 6.00 

23 WINTER (10x8) - - - - - - - - 8.00 

24 REFLECTIONS (3^x4^) ----- 3 . 5 o 

25 MOORLAND (6K x 5) ------ 5 . 00 



36 




37 




WE are rather more than reasonably certain that Mr. C. K. 
Gleeson will, in the not remote future, attain an especial 
eminence as a painter-etcher. His etched work to date, 
while displaying opportunities for the supercritical, yet reveals 
so clearly the artist's strong grasp of the essentials that the effect 
is wholly satisfying. The prints of his Paris "Series" are not 
only exceedingly interesting, but many of them are among the 
artist's very best work. Such plates as "Saint Eustache et Les 
Halles," "On the Boulevard," "Pont des Arts," and "Under 
Pont Sully," reveal at a glance that the artist "knows his Paris," 
and that he has the deftness to instill into his etchings so much 
of the life of every day, that we feel the pulse of the great city. 

Mr. Gleeson was born in Saint Louis, Missouri, some thirty- 
three years ago, but did not manifest any very decided interest 
in art before he reached the age of twenty-six. At that time he 
began studying at the Museum of Fine Arts in Saint Louis, with 
the declared intention of becoming a newspaper cartoonist. He 
worked for some years there under the guidance of Mr. Wuerfel 
and Mr. Carpenter, both in oils and in pen and ink sketching. 

In 1906, his financial circumstances becoming easier, he 
discarded entirely his earlier ambition and went to Paris, where 
he entered the studio of Carlo Rossi. He first exhibited his 
prints at the Salon in 1909, since which time his work has 
appeared at many important exhibitions. 

The artist has made some fine etchings in his travels through 
Ireland, and his newer plates done at Haarlem, Utrecht, Niirn- 
berg, etc., are very skillfully executed and display a very marked 
appreciation of the charm of these old cities. 

Of very decided opinions on art matters, Mr. Gleeson has 
developed in a more or less independent manner, and one is not 
suqurised to learn that his knowledge of the technic of etching has 
come from his own experiments with the acid. 

His quite recent etchings in Spain, which will soon be in the 
Roullier Galleries, will prove to be, we have every reason to 
anticipate, the artist's most notable accomplishment. 

39 




Saw Mill, Utrecht (Catalogue No. 6g) 




Saint Eustache et les Halles, Paris (Catalogue No. 3) 
40 



C. K. GLEESON 

(In each instance the width is given first) 

FRENCH SERIES 
PARIS 

i COURTYARD, MARCHE DE CARMES (7x9^) $10.00 

2 SAINT JULIEN LE PAUVRE (5x7) - - - 6.00 

3 SAINT EUSTACHE ET LES HALLES (4^x6) - 7.00 

4 MARCHE SAINT GERMAIN (5^ x 7) - - - 7.00 

5 UNDER PONT SULLY (5 x 7) - - - - - 7.00 

6 RUE DES PROUVAIRIES (4 x $%) - - - - 6.00 

7 CREPUSCULE (9^x7^) - - - - - - 10.00 

8 LE CHEMIN DE FER (7 x 5) - - - - - 7.00 

9 SAINT ETIENNE DU MONT (5x7) - - - 5.00 

10 HOTEL DE VILLE, No. 1 (5 x 7) - - - - 8.00 

11 HOTEL DE VILLE, No. 2 (4^x3^) - - - 5.00 

12 SALLE MICHELANGELO, LOUVRE (5x7) 7.00 

13 PONT-DES-ARTS (4^x3^) 5- 00 

14 LOUVRE, SOUTH FAgADE (4^ x 3 K) - - - 7 00 

15 NOON HOUR (sH^4H) ------ 6.00 

16 LE PETIT CAFE DANS LA RUE DU FOUR 

(7 x 4 3 X) ---------- 5 . 00 

17 KIOSQUE (j'AxsH) ~ ~ - - - - - 7- 00 

18 THE BAROMETER, THORIGNY (9^x8) - - 8.00 

19 THE PASSAGE (9K x 7) - - - - - - 10.00 

20 ON THE BOULEVARD (8>< x $H) ~ - - ~ 6.00 

21 L'OPERA (8^ x 7K) -....-- io .oo 

22 PLACE THEATRE FRAN^AISE (9x8) - - 10.00 

23 INSTITUTE, No. 1 (9X x 7) - - - - - 10.00 

24 UNDER CHARENTON BRIDGE (9K x 7) - - 10.00 

25 PLACE PONT NEUF (9^x6^) - - - - 8.00 

26 PONT NEUF, No. 2 (9^ x 7X) - - - - 10.00 

27 LA CITE, No. 2 (5 x 5) ...--- 7 .oo 

28 PLACE SAINT MICHEL (9^x7) - - - - 8.00 

29 INN OF THE GOLDEN COMPASS (10x8^) - 12.00 

41 



3 QUAI AUX FLEURS (7x5) - - - - - $ 6.00 

31 CONCIERGE (7x9^) - - - - - - - 10.00 

HAVRE 

32 BASSIN DOCK (5^x5) - - - - - - 10.00 

^ GRAND QUAI (6^x4^) ...... 6.00 

34 HIGH TIDE (8xsK) - - - - - - - 700 

35 BASSIN DU ROI {9% x 7) - - - - - - 8.00 

36 LOW TIDE (4^x3^) ------- 4.00 

37 QUAI CASIMIR DELAVIGNE (4^ x 3^) - - 6.00 

38 BASSIN DE LA BARRE ( 9 K x 7) - - - - 8.00 

39 ANCIENNES HALLES, ROUEN (5K x 8tf) - - 8.00 

40 IN CHERBOURG HARBOR (7x5)- - - - 6.00 

41 RIVER LEA IN CORK, IRELAND (7 x 4K) - 7 00 

GERMAN SERIES 

42 A HAMLET, BAVARIA (7X x 9K) - - - - 10.00 

43 OLD FRANKFORT (8 x 9) - - - - - - 10.00 

44 IN THE ROEMERBERG, FRANKFORT 

(9K x 7) ---------- 10.00 

45 A CORNER OF FRANKFORT (9,^x8)- - - 10.00 

46 A VIEW OF HEIDELBERG (9% x 4X) - - 10.00 

47 HEIDELBERG CASTLE (8J< x 9 K) - - - 10.00 

48 NASSAUER HAUS, NURNBERG (7^x9^) - 10.00 

49 AN OLD COURT (7X x 9 K) - - - - - 10.00 

50 TOWER, NURNBERG (5^x10) - - - - 10.00 

51 DURER'S HOUSE, NURNBERG (10 x 7*2) - - 10.00 

52 THE WILLOW, NURNBERG (9^x7^) - - 10.00 

53 A VIEW OF ROTHENBERG (9^x4^) - - 1000 

54 A COTTAGE, ROTHENBERG (9^ x 7K) - - 10.00 

55 HEGERTERHAUS, ROTHENBERG (9^ x 7K) - 10.00 

56 THE TAUBER VALLEY, ROTHENBERG 

(7^x9^)- --------- 10.00 

57 BINGEN FROM THE HEIGHTS {9% x 4 K) - 10.00 



42 



HOLLAND SERIES 

58 THE GILDED SQUARE, BRUSSELS, BELGIUM 

(7X9K) ---------- $10.00 

59 ROTTERDAM (9^x7)- - - - - - - 10.00 

60 MILL, HAARLEM (7 x 9) - - - - - - 10.00 

61 WEIGH HOUSE, HAARLEM ( 9 > 2 x 7) - - - 10.00 

62 SPAARNE, HAARLEM (9X x 7X) - - - - 10.00 

63 CATHEDRAL, HAARLEM (9 x 7) - - - - 10.00 

64 HAARLEM (9^ x 6^) ------- io .oo 

65 WAREHOUSES, AMSTERDAM (9X x 5K) - - 10.00 

66 CANAL, AMSTERDAM (8 x 8) - - - - - 10.00 

67 BELL TOWER, SACRE CCEUR ( 4 I 2 x 6) - - 7.00 

68 CANAL, UTRECHT (9X x 5^) - - 10.00 

69 SAW MILL, UTRECHT (7x9'.) - 10.00 

70 LANDSCAPE NEAR LEYDEN (gJ4 x 7) - - 10.00 

71 VIEW OF LEYDEN (9 x 63<) ----- io .oo 

SWITZERLAND SERIES 

72 LIMMER QUAI, ZURICH (7x4^)- - - - 8.00 

73 SAINT MARTIN, BALE (5 x 4 K) - - - - 700 

74 STREET FAIR, LUCERNE (4^ x ^A) - - - 400 

75 SPRUERBRUCHE, LUCERNE (6x5) - - - 6.00 

76 GUTSCH, LUCERNE (4^x7) ----- 6.00 

ITALIAN SERIES 

77 SCUOLO DI SAN MARCO, VENICE (5^x7^)- 8.00 

78 RIO DEL MENDICANTI, VENICE (7^x5^) - 7.00 

79 RIO DI SAINT ANDREA, VENICE (7 x 5) - - 7.00 

80 CANAL ST. PIETRO, VENICE (9^x7) - - 10.00 

81 GRAND CANAL, VENICE (9 x 6K) - - - 1000 

82 LAUNDRY HOUSE, COMO (4^x7) - - - 6.00 

83 CITTADELLA, PISA (4^x3^) - - - - 4.00 

84 ARCH OF TITUS, ROME (6^x5)- - - - 7.00 

85 PALATINE HILL, ROME (8x5) - - - - 7.00 

86 IRENE, No. 1 (7 x 9X) 7.00 

87 IRENE, No. 2 (4>^x6>4) - 5.00 

43 




45 




46 




OF all the American artists who, having gone to Paris to 
paint, remained to etch, no one of them has caught the 
spirit and atmosphere of Parisian life with a more facile 
and masterly touch than the painter-etcher Lester G. Hornby. 

Having done some preliminary etching in Marblehead and 
other New England towns and villages, he went, in 1906, to Paris, 
and has made .that metropolis his abiding place since that time, 
except for his travels extended over various parts of Spain, 
France, Belgium, Germany, Holland, and England, of which 
journeyings he has preserved an interesting record, as Mr. 
Roullier's ample portfolios abundantly prove. 

Mr. Hornby has not only the appreciation of the general 
public, but he enjoys as well the approbation of discerning 
critics. In a word, he is an artist who has arrived, and his work 
is shown constantly in important exhibitions in this country and 
in Europe. Reviews and notices of his print exhibits have appeared 
from time to time in such periodicals as "The Studio, London," 
"Figaro," and "La Revue de l'Art." 

Of the artist's Paris plates one might single out "Carrefour 
de la Croix Rouge," "Old Court in Rue Vercingetorix " "Cloitre 
St. Honore," "Rue Eginhard," "L'Hiver dans le jardin du 
Luxembourg," and the later prints, "Le Jardin des Tuileries" 
and "La Fete du Palais Royal" as particularly pleasing not only 
for their clever draughtsmanship, but also for the unerring skill 
with which the artist selects his compositions, making each 
print a page from real life, and a thing not too formal. 

His newer plates done at Gland-sur-Marne of rural landscape 
are quite a departure in method, the line being more broken 
and open, and a tendency being also apparent in printing the 
proofs, to rely less on shading and to emphasize more the value of 
the line. Of these etchings "Le Pont" is unquestionably one 
of the most pleasing and successful. 

As the result of a sojourn in North Africa during the winter of 
1908, we have the fascinating etchings in and about Tunis, some of 
which are printed in color. In fact the artist has done some very 

47 



meritorious work in color printing; his " La petite fille au marche" 
being one of his happiest efforts, and the etchings done in Wales 
have lent themselves to color printing with considerable success. 
Mr. Hornby however has not exhausted his possibilities, and 
his admirers feel justified in expecting in the future, a series of etch- 
ings fully up to the high standard he has already set for himself. 



4 8 



AW 




Le Jardin des Tuileries, Paris (Catalogue No. 45) 




Le Pont (Catalogue No. 75) 



49 




Rainy Sunday, San Marco, Venice {Catalogue No. 76) 




Old Court in Rue Vercingetorix, Paris {Catalogue No. 16) 



50 



LESTER G. HORNBY 

{In each instance the width is given first) 

FRENCH SERIES 
PARIS 

i DANS LE JARDIN DU PALAIS ROYAL 

(n^ x 7^) - - - - - - - - - $25.00 

2 QUAI AUX FLEURS (5)4 x 8>i) - - - - 10.00 

3 RUE DE L'HOTEL DE VILLE (5^x9^) -. - 12.00 

4 BOULEVARD MONTPARNASSE (4^x6^)- - 10.00 

5 RUE DE L'ECOLE POLYTECNIQUE (6^x9^) 12.00 

6 CLOITRE ST. HONORE 

{Salon des Artistes Franqaise, 1907, 6^x9) - - 15.00 

7 RUE MADAME {Salon, 1907, 5^x9) - - - 10.00 

8 RUE DU SABOT {Salon, 1907, sH x io#) - - 12.00 

9 RUE DU SABOT, EVENING (5><x8K) - - 1200 

10 RUE EGINHARD {Salon, 1908, s l A ^ l l A) - - 10.00 

11 PALAIS DU LUXEMBOURG 

{Salon, 1908, 5K x 7/i) - - - - - - - 10.00 

12 L'HIVER DANS LE JARDIN DU LUXEMBOURG 

(10^4x6^) - - - - - - - - - 12.00 

13 A ST. MEDARD, JOUR DE MARCHE 

{$$4 x 8#j) - - - - - - - - - - 1 2 . 00 

14 PASSAGE DE LA PETITE BOUCHERIE 

{Salon, 1909, 6% x q$4) - - - - - - 12. 00 

15 AUX TROIS BOUTEILLES (5^x7^ - - - 15.00 

16 OLD COURT IN RUE VERCINGETORIX 

(6 x ypi) - - - - - - - - - - 12. 00 

17 ST. NICHOLAS-DES-CHAMPS 

{Salon, 1908, $A x 7/i) - - - - - - 10.00 

18 ST. NICHOLAS-DU-CHARDONNET (5^x9) - 12.00 

19 VIEUX PASSAGE, PALAIS ROYAL 

{Salon, 1908, 5 A x 7^) - - - - - - 1 2 . 00 

20 VIEUX PASSAGE DANS LA RUE VAUGIRARD 

(5^x8^)- - - - - - - - - - 10.00 

21 LE PONT MARIE (5^ x 7^) - 10.00 

51 



22 AUX AMBASSADEURS (6>£ x 8*<) - $12.00 

23 LA MODELE (3^ x 5) ------- io .oo 

24 SPANISH DANCER (4^x6^)- - - - - 4.00 

25 RUE DE VENISE (6 x 9K) - - - - - 12.00 

26 A MONTROUGE, PROPRIETAIRE ET CHIEN 

6J4 x 10) - - - - - - - - - - 12.00 

27 RUE DE RENNES (3^x5^) - - - - - 10.00 

28 UN ETAMEUR, PASSAGE DU DRAGON 

(Salon, 1908, 4^x7^/4) - - - - - - - 10.00 

29 THE LITTLE BALCONIES (6 x 4 K) - - - 1000 

30 MARKET DAY, 

BOULEVARD EDOUARD QUINET (8^x6) - 12.00 

31 LE CARREFOUR DE LA CROIX ROUGE 

(n^x8X) --------- 15.00 

32 LE GROS CHOU (9^x6^) ..__'. I5 . 00 

33 LE RENDEZ-VOUS (9 x 5^) - - - - - 12.00 

34 CAFE JULIEN, RUE MOUFFETARD 

(11^x8^) - - - - - - - - - 20.00 

35 RAINY DAY, LE PONT NEUF, PARIS (g}4 x 7*4) 15.00 

36 PASSAGE ST. PIERRE (7K x 5X) - - - - 10.00 

37 A LA GAITE ; MONTPARNASSE (6^x4^) - 10.00 

38 CANAL ST. MARTIN 

(Salon des Artistes Franqaise, 1907, 9^ x 7^) - - 12.00 

39 LES PARISIEN COCHERS (6^x4^) - - - 10.00 

40 LA FETE DU PALAIS ROYAL (7^x5^) - - 18.00 

41 LA LETTRE D 'AMOUR (&y 8 x 6*4) - - - 12.00 

42 LA MARCHANDE DE FLEURS (6^x4^)- - 12.00 

43 LA MAISON ROMAIN, JOUR DE MARCHE 

(11^x8^4) - - - - - - - - - 20.00 

44 CAFE DU ROND POINT (8^x6) - - - - 12.00 

45 LE JARDIN DES TUILERIES (g*/ 2 x sH) - - 20.00 

46 NOTRE DAME (9^x7) ------ 18.00 

47 CHARENTON (7K x $ l A) - - ~ - ~ - 10.00 

48 PASSAGE DES PATRIARCHES (Syi x 6*4) - - 12.00 

49 LA VIEILLE PORTE (Salon, 191 1, 6*4 x g) - - 15.00 

50 LA PORTE (Salon, 1911, 7^x9^) - 18.00 

52 



51 LA FETE A FANTIN {Salon, ign, 7H x 9K) - $20.00 

52 DIMANCHE (6Xx4^) 12.00 

53 L'ANE a LA GARENNE (7^ x 5K) i4-oo 

54 a TROUVILLE (8 x $y 2 ) - - - 14.00 

55 LES COMMERES (6><x8) - 18.00 

56 L'ARC-EN-CIEL (8^x6) 15.00 

57 DANS LES CHAMPS (nxSK) 20.00 

58 LA VIEILLE FEMME AUX CHAMPS (734x64)- 18.00 

59 LES VIEILLES MATSONS, REIMS (5,^x8) - - 14.00 

60 LA BRISE (10^x8^)- - 20.00 

61 LA COLLINE (8 x 6 l A) - 18.00 

62 LES BOHEMIENS (6 x 4 K) - 12.00 

VALLEY OF THE MARNE 

63 LES LAVOIRS A CHATEAU THIERRY 

(8>^x6K)- --------- 15.00 

64 LE MATIN (8^x6^) ------- 18.00 

65 LES FERMES (9^x7^) - - - - - - 18.00 

66 L'EGLISE (934x734) ------- 18.00 

67 L'EGLISE (8^x5)- ------- 12.00 

68 LES BLANCHISSEUSES (8^x5^) - - - 15.00 

69 LES COCHONS (5 x 63<) - - - - - - 12.00 

70 L'EGLISE A CLAYS (Salon, ign, 6y 2 x g) - 15.00 

71 CHATEAU, PASSY-SUR-MARNE (7^x5) - - 12.00 

72 THE GOOSE GIRL (9^x6^) ... - - I5 . 00 

73 LA COUR A ST. MAMMES (12^x8^) - - 25.00 

74 A BOURG LA REINE (Salon, 1911, 83^x6^) i5-oo 

75 LE PONT (734x534) ------- 18.00 

76 RAINY SUNDAY, SAN MARCO, VENICE 

(8KX5K)- --------- I2 .oo 

77 IN THE GIUDECCA, VENICE (834x534) - - 12.00 

78 PORTE DE RIALTO, VENICE (8^x534) - - 12.00 

79 OLD SPANISH HOUSES, SPAIN (8 x io4) - - 15.00 

80 OLD STREET LEADING TO PLAZA DE 

JOCODOVER, TUNIS (8^x11^)- - - - 20.00 

53 



81 PASSAGE ARABE, TUNIS (8^ x n^) - - $15.00 

82 DELFT (8^4x53^) 12.00 

83 COLOGNE FROM THE RHINE (8^x5^) - 10.00 

84 THE HERRING FLEET, ENGLAND (9^ x 7X) 15.00 

85 BLACKWELL REACH (9^x6) - - - - 15.00 

86 WONDERLAND, CONEY ISLAND (9^x6^) - 12.00 

{Etchings printed in Colour) 
PARIS 

87 LA PETITE FILLE AU MARCHE (4J4 x 6) - 12.00 

88 EVENING OF THE BAL MASQUE (14^x9^) 20.00 

89 JOUR DE MARCHE, AVENUE DES GOBELINS 

(10^2 x 5;kQ - - - - - - - - - 20.00 

90 CAFE DU ROND POINT (8^x6) - - - 18.00 

91 PARISIAN WORKMEN (4K x 6) - - - - 12.00 

92 A LA GAITE, MONTPARNASSE {6% x 4 K) - 12.00 

93 THE HOIST (4^x6^)- ------ 10.00 

94 RUE ST. JACQUES (5^x8^) - - - - 12.00 

MISCELLANEOUS 

95 IN THE GARDEN OF THE KING'S ARMS, 

COOKHAM ON THAMES (9^ x 7^) - - 18.00 

96 IN HAPPY VALLEY, WALES (11^x6) - - 20.00 

97 LLANDUONO, WALES (11^x6) - - - - 20.00 

98 THE RIVER TYNE, NEWCASTLE (8^ x 5^) - 18.00 

99 ROTTERDAM, DUSK (7^x9^) - - - - 18.00 

100 AFRICAN HA YFIELD, MOONLIGHT (9^x6^) 15.00 

101 ZEB, TUNIS (8KxiiM) ------ 15.00 

102 THE STORY TELLER, TUNIS (8 x 10}^) - - 20.00 

103 ARAB MUSICIANS, TUNIS (8^x5^) - - 12.00 

104 ARAB VEGETABLE DEALERS, TUNIS 

(8>i x 10^) - - - - - - - - - 20.00 

105 IN OLD TOLEDO, SPAIN - - - - - - 18.00 

106 DANCING GIRL, SEVILLE, SPAIN (3 x 4 K) - 10.00 



54 




55 




IT is unfortunate for print collectors that, until recently, the 
etchings of Miss Katharine Kimball have not been more 
widely known in this country. They are so superior in 
draughtsmanship and composition, and so beautifully executed 
that they immediately arrest the attention of the appreciative 
and the discerning. In fact, it is not too much to say that 
many of these prints will rank in the future among the best 
etching done during the present day. 

Like many of our American artists who have won fame abroad, 
Miss Kimball was born in New England. She received her 
early education at the Jersey Ladies College at St. Helier, and 
afterward attended the National Academy of Design in New York 
City. The artist's life at present, however, is chiefly spent in 
England and France, as one may readily judge from the titles of 
the prints themselves. 

One finds in the folio a goodly portion of etchings portraying 
scenes in Paris, among which we acknowledge a weakness for 
"La Facade de Pierre Lescot," Louvre, and "LaVieille Ecole 
de Medecine." These prints are really superb in the fine impres- 
sions, and when one studies them and also those beautiful prints, 
"The Lock at Moret-sur-Loing," and "Le Presbytere de Saint 
Maclou," Rouen, one wonders what the artist may accomplish 
in the future, in view of the fact that she has been etching some- 
thing less than ten years. 

As an illustrator Miss Kimball's work has been familiar for 
some time to the readers of The Century Magazine, The Studio, 
Gazette des Beaux Arts, and other publications, and the repro- 
ductions of her prints add considerable charm to such books as 
Okey's "Paris:" Gilliat Smith's "Brussels," and Sterling Tay- 
lor's "Canterbury." "Jasper's Gate House," which we repro- 
duce, is one of the most brilliant of the etchings done in Kent, 
England, and appeared in 191 2 in "Rochester," one of the 
"Artists' Sketch Book Series." 

The artist is a member of the Royal Society of Painter- 
Etchers, London, and Associe du Salon des Beaux Arts, Paris, 

57 



and her etchings are frequently shown at the annual exhibitions 
of these and other important and influential societies in London 
and on the continent. 

Selections of her etchings are represented in the permanent 
collections of the New York Public Library, Boston Art Museum, 
Victoria and Albert Museum, London, and the Bibliotheque 
d'Art et d'Archeologie, Paris. 

That her judgment as an art critic is highly esteemed is 
amply evidenced by the fact that she was elected to serve on the 
Jury of the Salon d'Automne, Paris, 1912. 

That the fine enthusiasm of the artist for the medium of 
etching may continue unabated, is the sincere wish of her ad- 
mirers, and they look forward with anticipation to her future 
accomplishment. 



58 



■*r 




Le Louvre, Facade de Pierre Lescot (Catalogue Xo. 20) 




Street in Moret-sur-Loing (Catalogue No. 27) 
59 




<o 



M 



« 




u 



60 



KATHARINE KIMBALL 

(In each instance the width is given first) 
ENGLISH SERIES 

i JASPER'S GATE HOUSE, ROCHESTER, KENT 

(6^x83^)- ---.-----$ 7 .oo 

2 A ROCHESTER BOWLING GREEN (iox63 4 ) - 5.00 

3 OLD STREET, ROCHESTER, KENT (9 x 63 4 ) - 7.00 

4 OAST HOUSES, NEAR ROCHESTER, KENT 

(8^x534)- --------- 8.00 

5 ENTRANCE TO CASTLE, ROCHESTER, KENT 

(834 x 6) --------- 8 . 00 

6 ROCHESTER CASTLE FROM THE MEDWAY 

(9x6) - - - - - - - - - - 8. 00 

7 VASE IN OXFORD BOTANICAL GARDENS (5x7) 5.00 

8 HARBOR MASTER'S BOAT (9x7) - - - 5.00 

9 LA BARQUE, ROCHESTER HARBOR 

(424x6)4)- -------- - 8.00 

10 A RIVER TOWN ------- -7.00 

FRENCH SERIES 
PARIS 

11 CALVIN'S TOWER, RUE VALETTE (7x9*,) - 7.00 

12 THE PARIS OF BALZAC (5 x 8>£) - - - - 7.00 

13 A WINDY DAY ALONG THE SEINE (iox8K) 1000 

14 LE LOUVRE ET LE PONT DES ARTS 

(63^ X5JO- --------- 8.00 

15 ST. GERVAIS (734x7^) ------ 8.00 

16 BATEAUX LAVOIRS ET LE PONT ST. MICHEL 

(7K X 7K)- - - - - - - - - - 10.00 

17 ST. NICHOLAS-DU-CHARDONNET (4^x7) - 5.00 

18 PONTONS ON THE SEINE (11x8) - - - 10.00 

19 TOWERS OF NOTRE DAME (7 x 10) - - - 10.00 

20 FACADE OF PIERRE LESgOT, LOUVRE 

(9^x7) ---------- 10.00 

21 A CORNER OF OLD PARIS (6^x9^)- - - 700 

22 OLD SCHOOL OF MEDICINE (4^x7) - - 10.00 

61 



23 LA MAISON BARLIER, RUE DE L'ABBAYE 

(7^X9^)- -------.. $ io .oo 

24 OLD HOUSE NEAR ST. JULIEN LE PAUVRE 

(8^x11) ---------- 10.00 

25 THE REPAIRING FLOAT (utf x ?}>£) - - - 10.00 

26 LOCK, MORET-SUR-LOING ( 9 x6K) - - - 10.00 

27 STREET IN MORET-SUR-LOING (7^ x 10K) - 10.00 

28 CHURCH AT MORET-SUR-LOING - - - - 7.00 

29 BRIDGE AND MEDIEVAL HOUSES, 

MORET-SUR-LOING (8xio^0 - - - - 8.00 

30 OLD HOUSES AND BARQUE AT MORET-SUR- 

LOING (ii3^x8K) ------- 10.00 

31 NOAH'S ARK, LANNION, FINISTERE 

(6^4 x 6) --------- - 5 . 00 

32 IMPASSE DE LA HAUTE TOUR D 'ARGENT, 

ROUEN (5^x10) ------- io .oo 

33 MAISON DE CHALON RUE DE SALA- 

MANDRE, ROUEN (7x10) - - - - 10.00 

34 L'ANCIEN PRESBYTERE DE ST. MACLOU, 

ROUEN (7x10) - - - - - - - - 10.00 

35 ROUTE DE ST. MAMMES (11^x7^) - - 10.00 

36 MOULIN A LE COQ, BELGIUM ( 4 ^x6K) - 10.00 

37 OLD HOUSES, DORDRECHT (5^x7^) - - 5.00 

38 THE CEMETERY, VENICE (8^ x 5^) 5.00 

39 FISHING BOATS, VENICE (6^x5) 5.00 



62 




63 




64 




ALTHOUGH Mrs. Bertha Lum is not, strictly speaking, an 
etcher, we are including her wood-block prints in colour in 
this catalogue because of their beauty and fascination. They 
are in a class by themselves. Japanese in spirit and feeling, they 
differ from the work of native Japanese artists in so many ways 
and yet make an appeal difficult to analyze but quite irresistible 
— "The Orient" seen with Occidental eyes. 

The artist (Bertha Boynton Bull) was born in Iowa and 
received her earliest, and in fact the major part of her art education 
in Chicago at the Art Institute, paying particular attention to 
the courses in design and life. After leaving the Institute the 
artist obtained considerable additional instruction from Mr. 
Frank Holme, at that time conducting the Holme School, and 
she likewise acknowledges her indebtedness to Anna Weston, 
the well-known designer of stained glass, with whom she spent 
several years. 

"My first trip to Japan," says Mrs. Lum, "was in 1903, but 
I did no work in the shops then. Buying tools, brushes, and 
everything necessary for printing, I worked out the process after 
my return home, "Theatre Street" and "Home-Coming" be- 
ing the first, successful prints. In 1908 I went again to Japan 
and worked every day for three months in one of the shops, 
cutting blocks, and then spent six weeks working with a printer. 
In 191 1 I returned to Japan, at which time I took a house, where 
I had several printers working under my instruction." 

No mere dilettante, as one may readily see, Mrs. Lum is 
not only the fortunate possessor of an artistic genius of the rarest 
kind, but she is also a student, earnest, sincere and thorough. 
Her prints display an intimate understanding of that sensuous 
art of Nippon, which is the very life of the people. 

Take, for example, such of her newer things as "Wind and 
Rain" and "Fishermen" -with what unerring skill these 
designs are drawn, and with what a deal of cleverness, is brought 
into the composition, that wonderful art of omission! The del- 
icate colouring of these prints (unfortunately lost in reproduction) 

65 



is unrivalled, and unrivalled too is the truly Whistlerian regard 
for detail, everything in the making of all her prints being 
studied with the greatest care. The artist has many prints 
in which groups of children playing form the main feature of 
the composition. These have an undeniable charm, especially 
"The Magic Carpet," "Cherry Blossoms," and "Kites." 

Difficult indeed would be the task of one who essayed to 
choose that one of the collection which is the most beautiful in 
composition, or the strongest in technical mastery; all area like 
lovely in their colour harmony. 

Being printed on that thin, wiry, specially prepared rice 
paper of Japan, they seem at times almost too ethereal and as 
if, as one might say, a breath would blow them away. In fact 
they are nothing and they are everything. 



66 



y^ *s 












Bamboo Road {Catalogue No. 25) 




Wind and Rain {Catalogue No. 26) 
67 




o 







/ 



^ 



*»i 







68 



BERTHA LUM 

(In each instance the width is given first) 

i JUNKS IN THE INLAND SEA (63 i x n^i) - $11.00 

2 EVENING (4^xi 3 X) ------- 9.00 

3 RAINY TWILIGHT (9^x7) ----- 6.00 

4 FLOWER GIRLS (3 x ?tf) ------ 3.00 

5 SISTERS (3^x15%) - - - - - - - 6.00 

6 O FUJI SAN (3KX13K) - 4.00 

7 AOYAGI (Green willow, 4^ x 10^4) - 8.00 

8 FOX WOMEN (8^x12^) - - - - - - 16.00 

9 PAGODA (5>;xioK) - - - 7.00 

10 HOMECOMING (3^x9) ------ 8.00 

11 THEATRE STREET, YOKOHAMA (4^x8^) - 10.00 

12 WINTER (14x8) - - - - - - - - 14.00 

13 THE BRIDGE (5x9^) ------ 4 . 00 

14 FISHERMEN (6 x 10) - - - - - - - 8.00 

15 KITES (15x8)- - - - - - - - - 12.00 

16 MAGIC CARPET (io> 2 x 14K) ----- 7.00 

17 SNOWBALLS (9^ x 10K) ------ 6.00 

18 GOBLIN DANCE (15 x 9) ------ I4 . 00 

19 ON THE RIVER (18 x io#) ----- 16.00 

20 PINES (534x14) -------- 9.00 

21 TANABATA (7^x15) ------- 12.00 

22 PINES BY THE SEA (13x0) - - 9.00 

23 RAIN (6Kxn) 6.00 

24 TEMPLE GATE (5x10) 6.00 

25 BAMBOO ROAD (10x8^)- - - - - - 10.00 

26 WIND AND RAIN (15x10) - 15.00 

27 CHERRY BLOSSOMS (12x18)- - - - - 12.00 

28 PETER (3x10) -------- 3.00 

29 CHILDREN (2><xioM) 3- 00 

30 THROUGH THE NIGHT (15x6) - - 5.00 

31 BOYS AND KITES (14 x 9K) - - - - 9.00 

32 SAILS ------------ 4.00 




7i 




72 




AMONG modern painter-etchers Mr. D. Shaw MacLaughlan 
holds a distinguished place, a place won by the mar- 
velous quality of his prints, so original, so full of charm. 
Mr. MacLaughlan 's etchings are unique, some of them of 
course, in subject, but more often because of the peculiar sensi- 
bility of his "line," making each and every print a thing made 
by him and by no one else. 

Mr. MacLaughlan is a versatile etcher. In the folios are 
seen the widest range of treatment and of subject, scenes in the 
Hill Towns of Italy, Canals of Venice, the street scenes and 
architecture of Paris, the Thames at London, and the always 
fascinating Switzerland plates; and these plates vary in size 
from the "Parma," "Siena Roadside" or the "Draught Horses," 
which might easily be carried in one's pocket-book, to the fairly 
majestic proportions of "Grimsel Pass" and "Lauterbrunnen." 

Having studied with care such masters as Rembrandt, Meryon, 
Whistler, Lepere, he has by his sensitiveness and insight as an 
artist, absorbed the particular message of each of them and made 
it part of himself. Hence we have from him plates so divergent 
as "Le Pont Neuf, Paris," "La Petite Forge," "La Ferme aux 
Vaches," "The Cypress Grove, Italy" (that beautiful plate be- 
yond criticism), and the "Lauterbrunnen," concerning which I 
quote from Frederick Wedmore's "Etchings": 

"It interests me, first, to be informed that 'Lauterbrunnen' 
was the outcome of a sudden sense, upon the part of its author, 
of the Alps impressiveness. Mere snow heights and inaccessible 
pine woods had been a bore to him — they were a something with 
which Humanity had little to do. Suddenly there came to Mr. 
MacLaughlan — and perhaps one reason why I enjoyed the plate so 
profoundly is that I have felt in quite that way myself — suddenly 
there came to him a sense of the amazing and thought- inspiring 
contrast between the austere heights, the vast stone masses, and 
the companionableness and fertility of the peopled plain. 

"And that is what he has interpreted — made clear to us. 
With high imagination and with masculine art, with a hold upon 

73 



reality the firmer and more intense because of all that he 
received in his poetic vision, he has brought the two together. 
The ' Lauterbrunnen ' is a record and it is a creation." 

The artist's newer etchings are wholly charming, especially 
the " Songs of Venice;" and "The White Palace" is an indubitable 
masterpiece. 

Mr. MacLaughlan prints all his own proofs, and in the folios 
at the Roullier Galleries one may see a choice selection obtained 
from the artist. 

The artist is of Scotch descent and was born in Boston in 
1876. He left America for Paris, however, in his early manhood 
and has made his home abroad ever since, although one of his 
earliest exhibitions was made at the Pan-American Exposition 
in Buffalo in 1901, an occasion which awarded him a silver medal. 
Since that time, however, he has been honored at many exhibi- 
tions, and in European art circles he has a place secure. 

Still a young man, it is not too much to say that in the future 
he will give to print lovers additional proofs of his mastery and 
of his genius. 



74 



;■» \ \ 


r 


Hit : i / 


w 


1 M 


*%£"'*< 




' ML -"jE*.*: 




■' .-.-■ 





La Ferme aux Vaches, Brittany (Catalogue No. 30) 




Le Quai des Grands Augustins, Paris (Catalogue No. 17) 



75 




Lauterbrunnen, Switzerland (Catalogue No. ioo) 




A Song of Venice {Catalogue No. 64) 



76 



DONALD SHAW MacLAUGHLAN 

{In each in stance the width is given first) 

FRENCH SERIES 
PARIS 

i SAINT JULIEN-LE-PAUVRE (7 x $H) - - $ 9.00 

2 L'ESTACADE (9^x4^) - - - - 12.00 

3 COUR DE COMMERCE (6 x 8K) - - 10.00 

4 RUE MOUFFETARD {$X * l l A) - 10.00 

5 LUXEMBOURG GARDEN (5^x5)- 7.50 

6 LA CITE {small plate, 6^ x 5^) - 25.00 

7 LA CITE {large plate, ii^xii^) - - - - 25.00 

8 QUAI DE L 'HOTEL DE VILLE (9. 1 , x8' : 4- - 20.00 

9 ST. SULPICE {large tower, 9% x n^) - - - 18.00 

10 ST. SULPICE {little tower , 9^4x11^) - 20.00 

11 NOTRE DAME (9^ x 7K) ------ 14.00 

12 COUR DES GOBELINS (6^x9^)- - - - 20.00 

13 LUXEMBOURG COLUMN (4^x6)- - - - 7.50 

14 SAINT SEVERIN (4K x 7X) - - - - - 16.00 

15 LE PONT NEUF (12^x4^) ----- 18.00 

16 THE KITE {$%*!%) ------- 8.00 

17 QUAI DES GRANDS AUGUSTINS (13^x9) - 50.00 

18 LA CONCIERGERIE (15 x 12K) - 40.00 

19 DRAUGHT HORSES (7x1) 6.00 

20 PARIS (5>^x8K) - - - - - 10.00 

ROUEN 

21 TOUR DE ST. LAURENT {4*4 x 8K) - - - 12.00 

22 TOUR DE BEURRE (2x3^ - 6.00 

23 PASSAGEWAY (4x5^) - 10.00 

24 LA FLECHE (3 x 6^) ------- I4 . 00 

25 RUE DU CHASSEUR ( 4 Kx63 4 ) - - 10.00 

26 RUELLE DES PIGEONS (2^x4^) 10.00 

27 SAINT OUEN (6^x5^) - - - 14 -oo 

BRITTANY 

28 THE LITTLE FORGE (5^x5^) - - - - 18.00 

29 LUSCANEN (7^x5^) - - - - - - 15.00 

77 



30 LA FERME AUX VACHES (11^x4) - - $15.00 

31 RUELLE DES HALLES, VANNES (2^x7^) - 8.00 

32 RUELLE DU PECHEUR (sH x 8K) - - - 1400 

33 LANDSCAPE (11^x4)- .._... IO ,oo 

34 LA PORTE GAYOLE, BOULOGNE-SUR-MER 

(6x4^4) - - - - - - - - - - 14.00 

35 LANDSCAPE, POIGNY, FRANCE (11x4^) 15.00 

36 POIGNY, FRANCE {small plate, 3K x 3) - - - 5.00 

37 LES DEUX CHAUMIERES, POIGNY (4^x3) - 5.00 

38 LE MOULIN SAINT MAURICE (3^4 x 3K) - - 8.00 

39 SLEEPING RAG VENDOR (9X x ?tf) - - - 15.00 

40 THE TANNERY (7X x 13X) - - - - - 10.00 

41 THE CANAL, CHARENTON (6}4 x sH) - - H 00 

42 LA PETITE PASSERELLE (3J4X3) 750 

43 THE BUILDERS (oval, g x ^H) ~ ~ - - ~ i5-oo 

44 THE TWO HORSES (3K x 2%) 5 • 00 

45 FORGE OF THE CARMELITES (7J4X9K) - 20.00 

ITALIAN SERIES 
VENICE 

46 LION COLUMN (2^x3^ - - - - - 7.50 

47 FISHERMEN OF CHIOGGIA (9^ x 12K) - - 25.00 

48 THE MARKET (15 x 10K) ------ 30.00 

49 MORNING (6Kx2^) ------- 12.00 

50 IDILLIO VENEZIA (9*4 x 8>£) - - - - - 20.00 

51 THE DARK CANAL (4^ x 4 K) 8.00 

52 THE CLOCK TOWER (4^x11^) - - - - 25.00 

53 WITHIN THE MARBLE CITY ( 9 K x 11^) - 25.00 

54 SAIL YARD (5KX5M)- ------ 15.00 

55 SALUTE ( 4 x 7 K) - - - - - - - - i5-5o 

56 THE GREAT DOME (4^x7) - - - - - 10.00 

57 DOORWAY OF THE DOGES (734 x 15K) - - 30.00 

58 CALLE DEL PARADISO (4^x73^) - - - 15.50 

59 THE GHETTO (9x11)- - - - - - - 30.00 

60 THE BOAT BUILDERS (10^x8^) - - - 20.00 

61 THE CURVED CANAL (11x8^) - - - - 25.00 

78 



SONG FROM VENICE No. 2 $25.00 

VENETIAN BYWAYS 10.00 

VENETIAN NOONTIDE 25.00 

BRIDGES AND PALACES 25.00 

IN GIORGIONE'S LAND 20.00 

WAYSIDE SHRINE 24.00 

HOUSE OF CERES 42.00 

SUMMER DREAMS 25.00 

RIO VERONA 25.00 

BY THE MUNSONE 30.00 

FIELDS OF ASOLO 30.00 

LEAVES OF ASOLO 30.00 

WINDOWS OF PARIS 12.00 

WINTER (DRYPOINT) 20.00 

PORTRAIT (DRYPOINT) 30.00 



NOTE — -The fifteen prints listed above comprise the latest work of 
Mr. D. S. MacLaughlan, and were received at the Roullier Galleries too 
late for classification. 



62 SAN GREGORIO (5^x6^) ..... $ io .oo 

63 THE BRIDGES (4x5^) - - - - - - 9.00 

(Songs of Venice) 

64 A SONG OF VENICE (12x10) - - - - 30.00 

65 SUNLIGHT AND SHADOW (10x12) - - - 20.00 

66 THE WHITE PALACE (13 x 10K) - - - - 30.00 

67 SANTA MARIA FORMOSA ( 9 }{ x 7K) - - - 18.00 

FLORENCE 

68 PONTE TICINO (7^x5^)- - - - - - 16.00 

69 THE CYPRESS GROVE (8^x11^) - - - 30.00 

70 THE CERTOSA (8^x4^)- - - - - - 20.00 

71 PALAZZO VECCHIO (4x12^)- - - - - 16.00 

(Fields of Tuscany) 

72 TUSCANY (11^ x 8^) _._... 20 . o 

73 SAN GIMIGNANO (6H x 6>£) - - - - - 15.00 

74 FIELDS OF SAN GIMIGNANO (13 x 8J4) - - 35.00 

75 THE HILL CITY (6^x5^) - - - - - 1500 

76 VAL D'EMO (12 x sK) - - - - - - - 20.00 

77 VAL D'ARNO (8 x S}4) - 7.50 

78 THE FOUNTAINS (6J4 x 4^) - - - - - 15.00 

79 SIENA ROADSIDE (3X x 4 K> - - - - - 10.00 

80 THE BILLOWS (11^x4^)- - - - - - 10.00 

81 TUSCAN FARM (6^x3) - - - - - - 8.00 

82 PERUGIA (8^x5^) - - - - - - - 18.00 

83 PA VIA (8X x 8) ._...... 20.00 

84 BOLOGNA (5^x4^) ------- 10.00 

85 EMELIA (5K x 4^) ....--. io .oo 

86 PARMA (3^6 X4K) - - 10.00 

87 TIVOLI (9^ x 7) ......... I5 .oo 

88 MELONCELLO (S}4 x 6K) - - - - - - 18.00 

89 THE TOWERS (4/4'xio) - - - - - - 18.00 

90 THE CITY OF TOWERS (12^ x 10K) - - - 18.00 

91 SAN LUCA DEL COLLINI (8^ x 8^) - - - 20.00 

92 THE DANCE OF SPRING (i8^xi2><) - - 40.00 

93 LE TAUREAU ITALIEN (1% x 2^) 5 . 00 

79 



SWITZERLAND SERIES 

94 HOUSES ON THE AARE, NEAR THUN 

(8^x7^0 --------- $20.00 

95 A CASTLE IN THUN (7^ x 10^) - - - 20.00 

(Pages from the Alps) 

96 ABOVE THE MOUNTAINS (11^x9^) 15 -oo 

97 THE TWO PINES (7H x ioj4) - - - - 25.00 

98 MOUNTAIN PEAKS (7^*5^) " " I2 °° 

99 THE GRIMSEL (14^x12) - 40.00 

100 LAUTERBRUNNEN (14^x10^) - - - - 50.00 

101 BERNESE OBERLAND (i 4 3 4 x 10^) - - 30.00 

102 ROSSINIERES (7^x934) ------ I2 . 00 

103 STORM IN THE ALPS (9^x7^)- - 10.00 

ENGLISH SERIES 

104 BEFORE SAINT PAUL'S, LONDON (10x7) - 15.50 

105 ON THE THAMES, LONDON (6^x2^) - - 10.50 

106 THE LITTLE POOL, LONDON (11^x7^) - 15.50 

107 THE LIFE OF THE THAMES, LONDON 

(12^ X I03/£) - - - - - - - - - 3O.OO 

108 THE POOL, LONDON (10x15) - - 30.00 

109 THE GREAT GATE (6 x 834) - - - - 12.50 
no LOADING BARGES (7K x 5K) - 10.00 
in THE SMUGGLERS' COVE (83 4 x7) - - 20.00 

112 A DEVONSHIRE VILLAGE (ii3 4 x6)- - 20.00 

113 THE TROUT BROOK, DEVONSHIRE (7x8^) 10.00 

114 LYNTON, DEVONSHIRE (8^xn3 4 ) - - 15.00 

115 THE WINDMILL (3^ x sH) - - 8.00 

116 FORGE OF THE WHITE HORSE (7 x $M) ~ 1200 

117 FISHING BOATS ($H x A l A) - - - - - 14-00 

118 THE GREAT OAK (6^x5^) - 15.00 

119 LION (a fragment, 7^ x 4^) - - - - - 8.00 

120 JACK (Dog asleep, 3^2x2^2) - - - - - 8.00 

121 TOPSY (5 T 4x6) -------- 8.00 

122 PLATE OF SKETCHES (4J4 x 4K) 7-5© 

80 




8i 




JOHN MARIN, the well-known painter-etcher, was born in 
New Jersey a little more than thirty years ago. He entered 
the Stevens Institute of Technology with the intention of 
becoming an architect, and after leaving the Institute he 
followed that profession for several years. 

His interest in Art becoming so strong, however, that it 
was necessary to make a choice between an artistic career and 
his profession, he chose the former, entering the Pennsylvania 
Academy of Fine Arts where he remained two years. 

After another year of study at the Art Students League in 
New York City he went abroad and in 1905 entered the Delecluse 
Academy in Paris. 

Mr. Marin 's etchings are characterized by a certain lightness 
of touch and delicacy of line, that make his work not only unique 
in character but charming in effect. 

Paris has been the place which has made the most powerful 
appeal to his imagination, and such plates as "Le Bal Bullier," 
and "La Place St. Jacques," are full of the magic of the famous 
city. 

He has also traveled in Holland from which country he has 
brought back some excellent etchings, especially the "Amster- 
dam." 

His Venice plates are quite up to the standard of his other 
work, especially noteworthy being "Ca D'Oro, " and "La 
Fenetre," two etchings which have been universally admired. 

He has also etched several plates of scenes in Rouen, and his 
"Chartres Cathedral" is considered by many critics as one of 
the best renderings in black and white that has been made of 
that beautiful edifice. 

The artist has not etched of late years, however, but we 
understand that he is soon to take up his etching needle once 
more, and doubtless, in the not far distant future his newest 
plates will be obtainable. 



83 




Place Saint Jacques, Paris (Catalogue No. 15) 




mm* ^ 



Chartres Cathedrale (Catalogue No. 26) 



JOHN MARIN 

(In each instance the width is given first) 

FRENCH SERIES 
PARIS 

i LE BAL BULLIER (7^ x $y 2 ) - - - - - $ 9.00 

2 QUAID'IVRY (iXxsk). - ~ 5- 00 

3 LE PONT NEUF ( 5 J A x 7H) - - - - - 7.00 

4 LES VIEILLES MAISONS PRES LE PONT 

NATIONALE (7^x5^) ------ 6 .oo 

5 SAINT GERMAIN DES PRES ($}.- 2 x 7 3 4 ) - . IOO o 

6 QUARTIER DE LA MAISON BLANCHE (7 x 5) 5.00 

7 COUR DU DRAGON (5K x 7^) - - - - 6.00 

8 NOTRE DAME (10^x12^) - - - - - 22.00 

9 LA VIEILLE MAISON, QUAI DTVRY ( 5 H x 7^) 6.00 

10 LE VIEUX MOULIN, SAINT MAURICE 

(8^x6^) - 6.00 

11 CATHEDRALE DE LEON (5^x8^) - - - 900 

12 NOTRE DAME, VUE DU QUAI CELESTINS 

(9 J A x 7 3 A) - - - - - - - - - 1 5 • 00 

13 SAINT GERVAIS PAR LA RUE GRENIER- 

SUR-L'EAU (73^x9^) - - - - - - 24.00 

14 PAR LE QUAI DES ORFEVRES (8J< x 7X) - 12.00 

15 LA PLACE SAINT JACQUES (7x5) - - - 9.00 

16 RUE MOUFFETARD (5x7) - - - - - 7.00 

17 L'OPERA (i 2 3 4 'xioK)- ------ 18.00 

18 L'EGLISE DE LA MADELEINE (10K x 12J&) - 18.00 

19 CATHEDRALE DE MEAUX (6^x8^)- - - 20.00 

ROUEN 

20 SAINT OUEN (83<xn) ------ I5 . 00 

21 LA VIEILLE MAISON, LA RUE SAINT ROMAIN 

(634x8X)- --------- 12.00 

22 LA CATHEDRALE (7^x9^) ----- 15.00 

23 RUE DE L'EPICERIE (6^ x 8> 4 ') - - - - 12.00 

85 



24 LA VIEILLE MAISON, LA RUE DES ARPENTS 

(8>(x6^)- _....-.-- $12.00 

25 LA CATHEDRALE, PRES DU VIEUX MARCHE 

(7^ X 9 3/i ---------- 15. 00 

26 CHARTRES CATHEDRALE 

{Plate destroyed, 8%"xii) - - - - - - 15.00 

27 OLD STRASBURG (Planzbadgasse, 9 x 8) - 15.00 

28 LE PONT, CANAL D 'AMSTERDAM (7^x5^4) 6.00 

29 CANAL D 'AMSTERDAM (5x7) 7 . 00 

30 LA PLACE FRAUEN KIRCHE, NURNBERG 

(9^x7^)- --------- 15.00 

31 FRAUEN KIRCHE, NURNBERG (7x9^) - - 15.00 

VENETIAN SERIES 

32 SANTA MARIA DELLA SALUTE (7x5) - - 10.00 

33 LE PONT SAINT PANTOLINI (5K * 7^0 - - 7 -°° 

34 LA CLOCHETTE DE SANTA MARIA ZOBENIGO 

(5H x iH)- --------- 6.00 

35 DOORWAY OF SAINT MARK'S (6^x9) - - 10.00 

36 CA D'ORO (9^ x 7) _.----- I5 . 00 

37 PIAZZETTA SAN MARCO (8>< x 6#) - - - 14.00 

38 CANAL SAN PIETRO (6]4 x 4 M) - - - - 6.00 

39 CAMPANILE SAN PIETRO (5 x 6^) - - - 7.00 

40 CAMPANILE SAN ROCCO (4^ x 6J<) • - - - 7.00 

41 PONTE GHETTO (7K x gl4) ----- 8.00 

42 LES GONDOLIERS (7 x 5) - - - - - - 6.00 

43 PONTE PARADISO (5 x 7) - - - - - - 6.00 

44 SESTIERI DI DORSO DURO (5x7) 8.00 

45 PAR LA FENETRE (5^ x 7^) ----- 24.00 

46 PALACE JANUS DARIUS (sK x 7^) - - - 10.00 

47 THE BRIDGE, ROMA ONESTA (5x7) 6.00 

48 LE PONT (7 x 5) - - - - - - - - 7.00 

49 LA FENETRE (5 x 7) - - - - - - - 6.00 




87 




88 




A RT happens. Whistler has said it and the lives and works of 
r\ creative artists go far to prove it. There are no rules. There 
is no formula. In all probability the author of " The Cloud ' ' 
could not analyze the process by which it was put together. 
Haden, apparently without preparation, went one day out into 
the open and etched those incomparable masterpieces of land- 
scape; and Whistler, if he had a secret of drawing, has left no 
record of what it was. 

When considering the etched works of Mr. Nordfeldt it is 
well to bear in mind that he, as well, has been indebted to the 
schools for but little more than the rudiments, and has perfected 
his own style. 

Born in Scania in the south of Sweden in 1878, he came, 
when thirteen years of age, with his parents to Chicago, and it 
was while he was employed on a local newspaper, four or five years 
later, that his artistic tendencies first made themselves apparent. 

At the Chicago Art Institute he obtained his earliest train- 
ing and the advice and encouragement of Frederick Richardson 
and John H. Vanderpool. 

In 1900 he went to Paris, entering the studio of Jean Paul 
Laurens, remaining there, however, but a very short time. 

His paintings were exhibited at the Spring Salon of 1901 
and during the fall of the same year he exhibited at the Royal 
Academy in London. Exhibiting in 1906 with the International 
Society of Sculptors, Painters and Engravers in Milan, Italy, he 
was awarded a silver medal by the Italian government. Since 
that time he has shown his work at many exhibitions in Europe 
and America. 

Mr. Nordfeldt has done some very clever work in wood-block 
prints, and has by no means lost his interest and enthusiasm for 
painting, as his very recent work abundantly proves. 

But more particularly of his etchings. We have some very 
delightful prints by him as records of his travels in Europe ; such 
as "The Palaces," Florence, characteristic scenes in Venice, and 
the highly original Tangier plates. 



Returning to Chicago, however, in 191 1, he soon became im- 
pressed by the recent astonishing growth of the city, and the 
power and efficiency of modern industrial plants. Seizing the 
very spirit of the most vital and influential thing in modern life, 
he took his copper plate, in a manner much like Joseph Pennell, 
out into the world of every day and made its beauty and signifi- 
cance patent to all. Skyscrapers in construction, street scenes 
in "Little Italy," plant of the Illinois Steel Company, views of 
the Calumet River, the "works" at South Deering; all are ren- 
dered with marvelous insight, and with a certain crispness in 
execution that make an immediate appeal. 

The new Chicago series done during the Spring of 191 2 are, 
in a way, even more successful than the earlier ones. Drawn 
with a little surer touch, with a more perfect blending of medium 
and subject, and printed with a regard to fine shading which 
conceals nothing of the value of the "line," these new plates go 
far to place the artist among the most noteworthy of modern 
etchers. 

The "Park Row" is an especially interesting print as a 
record of what will soon be a thing of the past, aside from its 
technical merit, and his "Illinois-Michigan Canal" is one of his 
most successful efforts. 

During the summer of 191 2 the artist made a journey to the 
Pacific Coast, bringing back the "Series" on San Francisco and 
Portland, Oregon. These San Francisco prints take us into the 
very atmosphere of the city which is being builded anew; scenes 
on Golden Gate Beach, buildings half finished, vistas down 
streets which climb those terrible hills, like Siena, and, of course, 
the Chinatown plates which reveal all that is most characteristic 
in this famous quarter. 

These 191 2 plates are reminiscent of Whistler in the true, 
firm drawing of the figures, so full of life and motion, and Whist- 
lerian, also, in a certain way is "The Little Shop on Piles" at 
Portland. 

Mr. Nordfeldt is an expert printer and himself prints each and 
every proof, a fact especially interesting in view of the fact that 
his plates rarely bear more than thirty-five impressions, when 
the plate is destroyed. 

These recent etchings — the new Chicago ones and the Pacific 
Coast sets — reveal, not only the artist's perfect control and 
understanding of the technic of etching, but they are also the 
product of his keenest inspirations. 



90 




En 




<o 



91 




The Illinois Steel Company, Chicago (Catalogue No. 38) 




Bab-el-Fey-Tangier (Catalogue No. S2) 



92 



BROR. J. OLSSON-NORDFELDT 

{In each instance the width is given first) 
SAN FRANCISCO SERIES 

i THE .EDGE OF CHINATOWN (12 x 9 %) $12.00 

2 CHINATOWN {Dry 'point, 7^ x 9^) - 12.00 

3 CHINATOWN SHOPS (11^x7^).- - - 12.00 

4 FOOK LUNG (8^xiiX) ------ 12.00 

5 HEE JAN (9K x 11^) - - - 12.00 

6 CALIFORNIA STREET (9x12^) - - - - 12.00 

7 THE SCAFFOLDING (9^x12^) - - - - 12.00 

8 GOLDEN GATE BEACH (11^x7^) - - - 12.00 

9 THE CALL BUILDING (8^x11^)- - - - 12.00 

10 THE MOUNTED POLICEMAN (12X x 9K) - 12.00 

11 THE FORECASTLE BAR (10^x9^) - - - 12.00 

12 CROWLEY'S .WHARF (12^ x 9^) - - - - 1200 

13 TELEGRAPH HILL (12^x9^) - - - - 1200 

14 THE INCOMING FOG (12X9K) - - - 12.00 

PORTLAND, OREGON, SERIES 

15 THE STERNWHEELER (12^x9^) - - - 12.00 

16 THE BOATHOUSE ON THE WILLAMETTE 

(12^x9^) - - - - - - - - - 12.00 

17 THE ELECTRIC TRAM (12^x9) - '- - - 12.00 

18 STEEL BRIDGE (n^x8K) ----- 12.00 

19 THE WATER TOWER (11x9^) - - - - 12.00 

20 THE LITTLE SHOP ON PILES (9^x11) - - 12.00 

21 BURRARD'S INLET, VANCOUVER, B. C. 

(11 x 7^) - - - - - - - - - - 12.00 



22 THE MILWAUKEE RIVER, MILWAUKEE, 

WISCONSIN (12X8X) - - - - - - 12.00 

23 THE BIG "E" (12x10) ------ I2 .oo 

24 THE MUDDY MAUMEE, TOLEDO, OHIO 

11 x 7^ - - - - - - - - - - 12.00 

93 



CHICAGO SERIES, 1912 

25 STATE STREET (9 x n#) - - - - - - $12.00 

26 MICHIGAN AVENUE (iq# x 8#) - - 12.00 

27 PARK ROW (10^x8) ------- I2 .oo 

28 THE LOGAN MONUMENT (12 x 9 K) - - - 12.00 

29 ON THE CALUMET (12x9) - - - - - 12.00 

30 THE COAL CRUSHER (11^x7^)- - - - 12.00 

31 ILLINOIS-MICHIGAN CANAL (12x9^) - - 12.00 

32 ENTRANCE TO THE FIELD MUSEUM (12 x 9U) 12.00 
7,2, FIELD MUSEUM No. 2 (12x9^) - - - - 12.00 

34 THE BIG ELEVATOR (12^x10) - - - - 12.00 

35 THE BRIDGE BUILDERS (12x10) - - - 12.00 

36 THE GOSSIPS (10^x8^)- ----- 12.00 

37 THE PAWN BROKER (10^x7^) - - - - 12.00 

38 THE TEN-CENT LODGING HOUSE (12 x 8K) - 12.00 

39 BARGES ON THE NORTH BRANCH (12 x 9 K) 12.00 

40 PASQUALE SCALE (11^x9^ - - - - 12.00 

CHICAGO SERIES, 1911 

41 CLARK STREET (11^x9)- ----- I2 . 00 

42 638 SOUTH CLARK STREET (10^x7^)- - 12.00 

43 FIELD MUSEUM (11^x5) - 12.00 

44 LITTLE ITALY (7x10) ------ I2 . 00 

45 THE LITTLE HUB (5^x8^) - - - - - 12.00 

46 THE TWO KITES (8^ x 5M) - - - - - 12.00 

47 THE BEACH (12x7^)- ------ I2 .oo 

48 WOODLAWN (11KX7K) - - 12.00 

49 THE CORNER (3x2^) ------ I2 . 00 

50 BUBBLY CREEK (10 x 7) - - - - - - 12.00 

51 THE BLACKSTONE (11^x8) ----- 12.00 

52 THE MONTGOMERY WARD TOWER 

(11^x7^) --------- 12.00 

53 THE SKELETON (6^xn^) - - - - - 12.00 

54 1880-1910 (8x11^)- ------- 12.00 

55 THE METROPOLITAN ELEVATED BRIDGE 

(io>£ x 7K) - - - - - - - - - 12.00 

94 



56 THE "B" AND "O" BRIDGE (11^x8) - - $12.00 

57 GAS TANK TOWN (11^x7^) - - - - 12.00 

58 THE ILLINOIS STEEL COMPANY 

{South Chicago, 11^x8^) - - - - - - 18.00 

59 THE COAL CHUTES {South Chicago, 10^ x 6^) - 12.00 

60 THE OPEN HEARTH FURNACE 

(South Chicago, io}4 x jj4) - - - - - - 12.00 

61 THE BESSEMER CONVERTERS 

(South Chicago, 10x7^4) - - - - - - 12.00 

62 THE NIGHT SHIFT (South Chicago, 11K x 7K) - 12.00 

63 FIVE O'CLOCK (South Chicago, 9^8X12) - - 12.00 

64 CALUMET RIVER (South Deering, n^i x 9) - - 12.00 

65 GRAIN ELEVATORS (South Deering, n# x 8) - 12.00 

66 SMOKE (South Deering, 12x9)- - - - - 12.00 

ITALIAN SERIES 

67 GIUDECCA CANAL (7^x4^) - - - - 12.00 

68 FIRST PROCESSION (2^x4^) - - - - 6.00 

69 SECOND PROCESSION (2K x 3^) - - - - 6.00 

70 THIRD PROCESSION (2^x3^) - - - - 6.00 

71 CHIASSO DEI MANETTI (4x4^)- - - - 12.00 

72 FLORENTINE PALACES (8 x S H) - - - - 12.00 

73 MARITTIMA (io> 4 x 6} 4) - - - - - - 12.00 

74 THE LONG VENICE (10x6^)- - - - - 12.00 

75 CA DI MOSTO (6K x 9 K) - - - - - - 12.00 

76 THE SHOEMAKER (6}{ x g?4) - - - - - 15.00 

77 SHIPBUILDERS (8x6^) - - - - - - 12.00 

SPANISH SERIES 

78 TARIFA (9XX4X)- - - - - - - - 12.00 

79 MALAGA HARBOR (8x6^) - - - - - 12.00 

AFRICAN SERIES 

80 MARKET WOMEN (3 x 3^) ----- 5 . 00 

81 JEWISH MARKET, TANGIER (7^ x 6^) - - 10.00 

82 BAB-EL-FEZ (9^x6) ------- 12.00 

83 SOCCO-GRANDE (iox6^) - - - - - 12.00 

95 



84 BIGOTE (5^x7) - $12.00 

85 ABDSOLAM (5^ x 7) ------- 12.00 

86 THE JEW OF TANGIER ( 5 K x 7) - - - - 15.00 

87 MOHAMEDE (5^ x 7) ______ I20 o 

88 THE STORY-TELLER (6^x4^) - - - - 12.00 

89 SPICE MERCHANTS (6^x5) - - - - 12.00 

90 ANITA {Dry point, 6 x 10) - - - - - - 10.00 

91 ANITA STANDING (Drypoint, 4 x $H) ~ ~ 10.00 

92 HELEN, A PORTRAIT (5^x7) - - - - 10.00 

93 PORTRAIT OF THE ARTIST'S FATHER 

(8x12)- - - - - - - - - - 15.00 

94 PORTRAIT OF THE ARTIST'S MOTHER 

(8x12)- - - - - - - - - - 15.00 

95 WASHINGTON MARKET, NEW YORK CITY " 

(5^x320 --------- 12.00 

WOODCUTS IN COLOUR 

96 THE BRANCH (8x10) - - - - - - 8.00 

97 THE PIANO (10^ x 8) - - - - 8.00 

98 ANGLERS, THE MIST (12^ x 8^) 8.00 

99 THE ROCK, NAHANT (13^x8) - - - - 8.00 

100 THE SKYROCKET ------- 8.00 

101 THE BRIDGE (10^x8) ------ 8.00 

102 THE PINES (7KX11K) - - - - - - 8.00 

103 THE TREE (9^x12)- ------ 8.00 

104 THE THREE TREES ------- 8.00 

105 SMALL WAVE. MOONRISE (n^'x^s) - - 8.00 



96 




97 




JOSEPH PENNELL, etcher, lithographer, author and illus- 
trator, has been before the public as an artist for so many 
years that his name has become a household word wherever 
the arts of engraving and etching are valued and enjoyed. 

Born in Philadelphia July 4, i860, after a training obtained 
in the Pennsylvania Academy of Fine Arts, at the age of twenty 
he was already making his first etchings of scenes in his native 
city. Four years later, in 1884, he removed permanently to 
Europe, and has made his home abroad almost exclusively since 
that time. At present, however, it is of Pennell the etcher that we 
would more particularly speak. As an etcher his fame is secure. 
He stands to-day among the greatest of etchers now living. 

Mr. Pennell's work is never heavy, labored or overdone, 
nor is nervous fumbling over a thing already finished a fault that 
may be laid at his door. His prints sparkle and glow with light 
and color. They have incisiveness, brilliancy, dash. These 
characteristics of his proofs are undoubtedly due in large measure 
to the artist 's customary method of work, which is very interest- 
ing. Choosing a place in some crowded street or in some 
industrial plant, he draws with the etching needle, swiftly and 
with practiced hand, upon the copper plate which he holds in 
the other hand. 

Apparently neither the noise of traffic nor the curiosity of 
the passers-by has power to move him from his concentration. 
Few artists have the audacity to work in this manner. A pre- 
liminary drawing of the scene, copied later onto the copper, 
serves their purpose better. But how he succeeds, and how 
much of knowledge and experience go into the drawing of those 
crisp lines! 

Mr. Pennell is an expert printer of etchings and has printed 
a large number of the proofs from his plates. The printing of 
etchings is a rather difficult and toilsome operation, but one has 
the advantage of knowing when an artist prints his own proofs 
that they are as he wishes them. It is not generally known to 
the public, I believe, that most of his etched copper plates, 

99 



including all the early ones, have been destroyed. This is a very 
wise thing for an etcher to do as soon as the wear from the print- 
ing becomes apparent. 

In the art of lithography Mr. Pennell has attained a pre- 
eminence in no way inferior to his reputation as an etcher, but 
his work in this medium, until very recent years, has not been as 
extensive, and consequently not as generally known as his etchings. 

His recent large plates of scenes in New York City ; Charleroi ; 
Belgium; Gary, Indiana; Niagara, and the quite new and fasci- 
nating ones of Panama and other places, have not only been 
widely seen and admired, but have brought fresh laurels to one 
who, not content to rest on the achievements of the past, works 
on with vigor and vision undiminished. 

In connection with Mr. Pennell's late work in lithography, 
which many have erroneously imagined was a new medium for the 
artist, it is interesting to recall what Whistler wrote to the Fine 
Arts Society of London more than a decade ago in reference 
to the Spanish lithographs: "I have seen these fresh lithographs 
Mr. Pennell has brought back from Spain with him. They are 
charming. There is a crispness in their execution, and a light- 
ness and gayety in their arrangement as pictures that belong to 
the artist alone; and he only could, with the restricted means of 
the lithographer — and restricted, indeed, I have found them 
— have completely put sunny Spain in your frames." 

In collaboration with Elizabeth Robins Pennell, the artist's 
wife, Mr. Pennell is the author of various important books on 
artistic subjects; notably, "Pen Drawing and Pen Draughts- 
men," "Lithography and Lithographers" (the latter the most 
important work on the subject extant), and the comprehensive 
and sympathetic "Life of Whistler" which remains the authorized 
"life" of that artist. The artist is, of course, a member of the 
Royal Society of Painter-Etchers, London, as well as of numerous 
other influential societies of a similar character, both at home and 
abroad, and has, in fact, received during his lifetime the highest 
honors that may be paid to a painter-etcher. 

At the Roullier Galleries there is a well-chosen collection 
of nearly three hundred of Mr. Pennell's prints, not only the new 
industrial ones, both etchings and lithographs, which lately have 
been the absorbing passion of the artist, but also those etchings 
of London, its streets, monuments, bridges etc., etchings in Rouen, 
Amiens, Venice, Rome and the Spanish lithographs. 

Also at the Galleries may be found the New York series of 
etchings, those made in Pittsburgh, Philadelphia, and quite 
recently in Chicago. 




The Tower Bridge, London 11 x 8' 4 ' S12.00 



- .f ' t • - • ' 




The Lifting Bridge, Chicago 12^x9^ $12.00 




The Way to Bessemer 7x11 $12.00 




Mills at Gary, Ind. Lithograph 22^x17^ $24.00 
102 




Landing Place, Leghorn 1 A -i^i $12.00 







- - 

• 






' 



The Rialto, Venice 10x7 3 4 $12.00 






L 



J 



The Light Lagoon, Venice 10x7% $12.00 
I0 3 




io5 




io6 




OTTO J. SCHNEIDER, the American Helleu, was born in 
1875 and spent his earliest years at Atlanta, 111. He came 
to Chicago at the age of twelve, and in that city 
he received his first art instruction at the Chicago Art Institute. 
He first came into notice as an illustrator, and it was in those 
hours which were not devoted to his usual occupations that he 
developed his own particular "gift," which has made him famous. 

Although the artist has done some meritorious work in land- 
scape etching, it is undoubtedly his drypoint portraits of men 
and women that will be more particularly cherished in the future. 

His portraits of women are characterized by brilliancy and 
dash. With a well trained hand the artist has placed these 
studies onto the copper plate, with a touch while apparently so 
slight, yet firm and sure. 

His sketch entitled " An American Girl" is full of animation; 
that well-known drypoint "The Gainsborough Hat" has a free 
swinging line that is very pleasing, while such plates as "An 
Old Settee," "A Puritan Maiden," and "Attentiveness" have an 
old-time flavor that is quite captivating. They are all deservedly 
popular. 

His portraits of men are among his most notable successes, 
and in such plates, for example, as those of "Elbert Hubbard," 
"Justice Blackstone," "Mark Twain," and "Theodore Roose- 
velt," he gives us not only a recognizable likeness of the original, 
but the artist has happily caught the most characteristic, most 
essential thing in the personality of his subject. 

His portraits of Abraham Lincoln, one of which we reproduce, 
are by many considered the best procurable of the great 
American. 

Mr. Schneider may equal his past triumphs, but it almost 
seems, when one is turning over the folios, that he could hardly 
surpass them. 



107 




y 



pq 





<J 



pq 




o 



log 



OTTO J. SCHNEIDER 

(In each instance the width is given first) 

i ATTENTIVENESS (8^x11^) - - - - - $15.00 

2 LA BELLE DAME SANS MERCI (7^x13^) - 15.00 

3 SORTIE DE L 'OPERA (7^x13^)- - - - 15.00 

4 GRANDMOTHER'S BONNET (8^x18^) - - 15.00 

5 A PURITAN MAIDEN (sH x 9 K) - - - - 10.00 

6 THE DANCER (8KX15K) ----- 18.00 

7 CYNTHIA (9x13,3/0 - - - - - - - 12.00 

8 MISCHIEF (8x10) - - - - - - - 1 2 . 00 

9 LITTLE MISS WITH A MUFF (7*4 x 12^,) - 18.00 

10 IL PENSEROSO -------- ^.00 

11 THE OLD SETTEE - ------- I5 . co 

12 JULIA MARLOWE (13 x 20^) - - - - - 18.00 

13 PENSIVE (14x17)- - - - - - - - 18.00 

14 COWBOY GIRL (13^x21^) ----- 18.00 

15 AN AMERICAN GIRL (13^x19) - - - - 18.00 

16 THE RIDING HABIT (14x21^) - - - - 18.00 

17 A WINDY DAY (13M x 21/4) ----- 18.00 

18 COLONIAL DAYS (Printed in color, 12 x 16) - 1S.00 

19 PHYLLIS (9x15) - - - - - - - - 18.00 

20 DAYDREAMS (7x10/4) ------ 15.00 

21 JUSTICE BLACKSTONE (8J< x io#) - - - 15.00 

22 MARSHALL, JOHN (First State, 12 x 16%) - - 35.00 

23 THE SAME {Second State) - - - - - - 28.00 

24 KENT, JAMES {Parchment, 11 x 14 1 ..) - 25.00 

25 THE SAME (Japan) - - - - - - - 20.00 

26 ROOSEVELT, THEODORE 

(Parchment, 11V4X i^) - - - - - - 25.00 

27 THE SAME (Japan) - - - - - - - 20.00 

28 NAPOLEON 

(After Delaroche. Parchment, 12^/4x15^) - - 28.00 

29 THE SAME (Japan) - - - - - - - 22.00 

30 WEBSTER, DANIEL (First State, 10^ x 14^) - 35.00 

no 



3 i THE SAME (Second State) - $25.00 

32 TAFT, WILLIAM H. (Mfl, 11 x 13%) - - - 20.00 

33 LINCOLN, ABRAHAM (8^x15^)- - - - 15.00 

34 LINCOLN, ABRAHAM (Parchment, 6% x io}4) - 25.00 

35 THE SAME (Japan) - - - - - - - 15.00 

36 LINCOLN, ABRAHAM 

(After an Autotype. Parchment, 7^ x io-^ s) - - 25.00 

37 THE SAME (Japan) - - - - - - - 15.00 

38 McKINLEY, WILLIAM (6/ 8 xio^) - - - 12.00 

39 HUBBARD, ELBERT (6^x9/4) - - - - 8.00 

40 NORDFELDT, B.-J. OLSSON (5^x7^) - - 8.00 

41 EMERSON, RALPH WALDO (6^ x 9^) - - 13.00 

42 DR. QUINN (634 xio^) ------ 8.00 

43 MARK TWAIN (Parchment 15% x 21*4) - - - 32.00 

44 THE SAME (Japan) - - - - - - - 25.00 




i'3 




H4 




THE art of landscape etching brought to perfection by Rem- 
brandt, and revived by Seymour Haden, has to-day many 
devotees among the younger artists, of whom there is no 
one more enthusiastic nor more full of promise for the future than 
J. Andre Smith, a young American architect residing in New 
York City. 

Although born in Hong Kong, China, in 1880, and spending 
many of his boyhood years in Hamburg, Germany, we find him at 
the age of seventeen in America, and entered as a student at Cor- 
nell University, from which institution he was graduated in 1902, 
receiving after two years ' additional study in New York City and 
at the University itself, the degree of M. S. in Architecture. 

Mr. Smith's artistic tendencies developed early in life. 
While at the University he was Art Editor of "The Cornell 
Widow," and received considerable instruction and valuable 
criticism from Prof. Olaf Brauner. 

Although the artist had done considerable sketching during 
his course at the University and during a later trip abroad, it 
was not until some years afterwards that he attempted to repro- 
duce his drawings on the copper plate. As an etcher Mr. Smith 
is entirely self-taught; that is, he has by his own experiments 
with the acid obtained his mastery over the medium. 

Never a professional artist, Mr. Smith has etched for his own 
pleasure in times of relaxation from his professional work, and 
thus we see one reason why, in choosing his subjects, he has for 
the most part taken his sketch book or his copper plate into 
the country. 

Not that all of the artist's prints are landscape etchings, but 
these predominate and he has done some exceedingly clever work 
in Central Park, New York City, along the Hudson River, on 
Long Island, and in "Kent," Connecticut. "The Lowlands" 
is one of his successes in which the cloud effects are very well 
managed, and to successfully render atmospheric conditions 
has always been considered something of a feat. 

His newer plates are stronger in many ways, and show at 

115 



once greater confidence and a more thorough mastery. "Iffley 
Lock" reminds one of the touch of Seymour Haden and "The 
Wood-Road," Maine, and "The Cheswell," Oxford, are remark- 
able for his drawing of trees. He would indeed be a bold critic 
who ventured to say that Mr. Smith will not be, in the near 
future, among our most distinguished painter-etchers. 



116 




The Thames at Iffley Lock (Catalogue No. 36) 




The Lowlands (Catalogue No. 32) 
117 



3 



J. ANDRE SMITH 

(In each instance the width is given first) 
MAINE SERIES 

HOUSE OF THE TWO ELMS, VINAL HAVEN 

(10 x 7^) ---------- $10.00 

THE HARBOR, VINAL HAVEN (9X x 6*4) - 10.00 

SURF, VINAL HAVEN (8^ x 6^) - - - - 8.00 

4 SAND COVE, VINAL HAVEN (9^x7^) - - 10.00 

5 FROM REACH HILL, VINAL HAVEN 

(9^x7^)- - - - - - - - - - 10.00 

6 THE WOOD ROAD (8^ x 5^) - - - - - 10.00 

7 THE HAUNTED HOUSE (7^x6) - - - - 8.00 

CONNECTICUT SERIES 

8 STONY CREEK (7^x5^) - - - - - 8.00 

9 THE HOUSE ON THE MARSH (7x5)- - - 8.00 

10 AT CORNWALL BRIDGE (7^ x 5K) - - - 8.00 

11 THE VALLEY (4^x6^) ------ 8.00 

12 CONNECTICUT WOODS IN WINTER 

(4^x6^)- --------- 8.00 

13 JUNIPER POINT (4^x6^) ----- 8.00 

14 MILL STREAM, REDDING (6 x 7^) - - - 8.00 

15 KENT (7x4^) -------- 8.00 

16 KENT, No. 2 (6^x4^) ------ 8.00 

17 THE BRIDGE AT OULEOUT ----- 8.00 

18 THE WOODS AT PINE ORCHARD (5K x 7H) - 8.00 

19 THE GRANITE STATE (6^ x 3^) - - - - 8.00 

NEW YORK SERIES 

20 BROOKVILLE, LONG ISLAND (4^x6^) - - 8.00 

21 RIVERSIDE, NEW YORK (6^x5) 8.00 

22 BRIDGE OVER THE HARLEM RIVER 

(6^x4^)- --------- 8.00 

23 WEST SHORE HUDSON RIVER (6^ x 4^) 8.00 

24 FORT WASHINGTON POINT, HUDSON RIVER 

( 4 3/£ x6K)- --------- 8.00 

25 THE EDISON WORKS, NEW YORK CITY 

(6^x9^)- - - - - - - - - - 10.00 

118 



26 THE WEST POND, CENTRAL PARK 

(6^x3^)- --..__. _ $ 8.00 

27 THE STONE ARCH, CENTRAL PARK 

(5^x7^)- --------- 8.00 

28 THE RUSTIC BRIDGE, CENTRAL PARK 

(6^x4^)- --------- 8.00 

29 " THE PLAZA" FROM CENTRAL PARK (5x7) 8.00 

30 CENTRAL PARK -------- 8.00 

31 THE APPLE TREES ------- 8.00 

32 THE LOWLANDS (7 x 5) - - - - - - 8.00 

ENGLISH SERIES 

33 THE THIMBLE ISLANDS (7^x5^) - - - 8.00 

34 THE BRANFORD RIVER (7H x sK) - - - 8.00 

35 IRON WORKS, BRANFORD (7^x5^)- - - 8.00 

36 THE THAMES AT IFFLEY LOCK (8^ x 6}i) - 10.00 

37 A COTTAGE AT NORTH HINKSEY (8^ x 6^) 10.00 

38 THE PRIOR'S GATEWAY, ELY CATHEDRAL 

(43^x6^)- --------- 8.00 

39 AN ENGLISH COTTAGE (4^x6^) - - - 8.00 

40 THE CHESWELL, OXFORD (8^x5^)- - - 10.00 

41 MONT SAINT MICHEL, FRANCE (4^x6^)- 8.00 

42 DOORWAY, ST. BARTHOLOMEW'S (4^x6^)- 8.00 

43 SAINT GERMAIN DES PRES, PARIS 

(4^x6X)- --------- 8.00 

44 DOORWAY, FRAUENKIRCHE, NURNBERG 

(4^x6K)- .-----.-. 8.00 

45 FRAUENKIRCHE, NURNBERG - - - - 8.00 



119 




EVERETT L. WARNER, the well-known American artist, 
was born in Vinton, Iowa, in 1877 an d received his earliest 
training for his future profession at the Art Students' 
League in New York City. Some years later he went to Paris 
where he continued his studies at the Julian Academy. 

Mr. Warner first became seriously interested in etching 
while he was a student in Paris, and as a matter of fact, as he 
himself has said recently in a private letter to Mr. Roullier, 
most of his etched work has been accomplished since 1903. 

Selections of his etchings are owned by the Boston Museum 
of Fine Arts and the New York Public Library, and his paintings 
as well as his prints have been shown in the exhibitions for 
many years. 

The proofs from the plates that he has etched in Europe 
show considerable skill and an understanding of the medium that 
augurs well for the future. 

Few collectors are fully aware of the pitfalls that lie in the 
path of the artist who aspires to etch and to etch well. One of 
our American artists most prominent at the present day has well 
said, that the discouragements for the beginner are so many that 
it is only by the utmost perseverance, added to the special talent 
of the born etcher, that one may hope to succeed with the acid 
and the copper plate. 

That Mr. Warner has succeeded, one has only to turn the 
small but interesting portfolio to discover. His plates done 
in Bavaria are among his best things, as well as the clever little 
set of scenes at Montreuil-sur-Mer. 

In this country he has given us a few etchings of Lyme, 
Connecticut, that famous haunt of the artistic fraternity, and 
his prints depicting views in the grounds of American colleges, 
one of which we reproduce, are exceedingly charming and especial- 
ly welcome inasmuch as that field has not been chosen to any 
large extent by our etchers. 

Although the artist strikes no new note and is what one 
might call in many ways a conservative artist, we may hardly 

123 



charge that up to him as a fault. In fact, it is not entirely un- 
pleasing in these modern days when new and startling theories 
are in the air, to find an artist who, while expressing his personal- 
ity, clings courageously to the traditions of the past. 



124 




o 




c® i #* 



o 



M 



W 



125 



EVERETT L. WARNER 

(In each instance the width is given first) 
BAVARIAN SERIES 

i BAVARIAN WATCH TOWER (5^x9^) - - $7.00 

2 FEUCHTWANGEN CHURCH (6x9^) - - - 10.00 

3 FEUCHTWANGEN, 

BASTION IN THE TOWN HALL (5 x8^) - 8.00 

4 THE RODERBOGEN, ROTHENBURG 

(6}4 x 7^) ---------- 9. 00 

5 ROTHENBURG TOWERS (9^ x 7) - - - - 9.00 

6 DINKELSBUHL FROM THE RIVER 

(8^x 4 K)- ------- 5.00 

7 DINKELSBUHL FROM THE RIVER 

(8Kx 5 K)- - - - 8-oo 

8 A CORNER IN DINKELSBUHL (5^x7) - - 6.00 

9 DONANWORTH (9^x4^)- - - - - - 6.00 

10 HARBURG CASTLE (9 x $H) - ~ ~ - ~ 8 -°° 

1 1 NORDLINGEN WAREHOUSES (sH x 9) 7 . 00 

12 A CANAL IN NORDLINGEN (6^ x 9^) - - 8.00 

FRENCH SERIES 

13 LE PONT NEUF, PARIS (4x5^) - - - - 6.00 

14 TOWERS OF NOTRE DAME, PARIS (4^x9^) 9.00 

15 RUE JERZUAL, DINAN (5 x 8K) - - - - 9 .00 

16 THE ARCADES, DINAN (7K x 9K) - H-oo 

17 THE WALLS OF MONTREUIL-SUR-MER 

(sy 2 x 5 y 2 )- --------- 7.00 

18 MOONLIGHT, MONTREUIL (6x9) - 10.00 

19 MILL AT MONTREUIL (3^x4) - - - 1400 

20 • MILLS AT MONTREUIL ($H x 7H) 9- 00 

21 OUTSIDE THE PORTE DE BOULOGNE, 

MONTREUIL (6 x 4 J<) ------ 6.00 

22 LA CARREE SAINT FIRMIN, MONTREUIL 

(7x5^) --------- - 6.00 

23 BASKET MENDER (4^x7^)- - - - - 8.00 

126 



24 BRUGES (3Kx6^) - - - - - - - $ 5.00 

25 LA BOULANGERIE (4X x 3K) - - - - - 4 .00 

26 SIENNA, ITALY (5^x3) - - - - - - 4.00 

27 HARBOR, GLOUCESTER ( 4 K x 8K) - - - 7- 00 

28 HARVARD HALL (7x9) - - - - - - 10.00 

29 BROOKLYN BRIDGE (7x11^) - - - - 14.00 

30 THE GRISWOLD HOUSE, LYME ( 4 y 2 x 8K) - 6.00 



127 




I2g 




CL££u>-< 



13° 




STEEPED in the atmosphere of Old Mexico, an etcher of 
distinguished attainment, widely traveled and of ripe 
culture, Mr. Cadwallader Washburn has won, on his merits, 
an enviable place among modern artists. 

Early in his career, while searching in various ways to "find 
himself," the artist chose the study of architecture as most 
suited to his tastes, and entered the Massachusetts Institute of 
Technology at Boston. 

This training, however, supplemented by a course at the 
Art Students ' League in New York City, and the direct personal 
influence of Wm. M. Chase, the well-known American portrait 
painter, finally led him to Paris, where he fell under the spell of 
Sorolla, the painter of sunlight. The influence of the Spaniard 
was so potent that he was induced to remain with him in 
Madrid for the space of some two years. 

This special training is interesting in that it leads naturally 
to an explanation of why Mexico has laid such a hold upon the 
imagination of the artist, and why he has chosen that field for 
some of his best efforts, and why he is there to-day, traveling 
with a bodyguard strong enough for protection in the present 
unsettled state of the country. 

The artist has etched some plates in Europe, it is true, — 
scenes in Venice and Verona, etc. — but his best successes have 
been accomplished on this side of the world. 

It was in 1903 that Mr. Washburn first used etching to ex- 
press his ideas, and a trip to the Orient resulted in his bring- 
ing home his series of etchings of scenes in Japan, which, though 
interesting, especially his plates of the temples at "Kitano" 
and "Tokyo," are not the high-water mark of the artist's achieve- 
ment. 

As to what are his most successful etchings, it would be 
rather difficult to state with exactness. 

The Mexican series, unique among prints, are wonderful in 
their rendering of that peculiar Mexican architecture, derived 

131 



from Spain, it is true, but changed, developed, molded into 
something to meet the requirements of a new land and another 
climate. 

With a few exceptions, notably the prints of the "Borda 
Garden, Cuernavaca," the artist has chosen architectural sub- 
jects, the public buildings and cathedrals of Mexico City, the 
several views of "Templo Parroquial, Taxco," and the churches 
at Cuernavaca, Contreras and Guanajuato. 

Displaying in their economy of line the hand of the skilled 
draughtsman, these plates have all the interest of etchings 
beautifully executed, with the added charm of the exotic, for 
Mexico, while at our very doors, remains a sealed book to most 
northerners; and then, in every print one feels that hard and 
brilliant sunlight, beating so fiercely on the facades of churches, 
shining into dark corners of old streets, and illuminating the 
groups of lazy natives. 

Unfortunately, the artist has lost by shipwreck the majority 
of the plates of the Mexican series, and the proofs from these 
plates are exceedingly scarce. 

The "Norlands Series," done near the summer home of the 
Washburn family in Maine, rank easily among the best of land- 
scape drypoints which have appeared in recent years. These 
plates are remarkable for the artist's comprehension of the beauty 
of what one might call ordinary country views. Such plates as 
"Lilypads," "Windy Morning," "Fuller Hill Road," "Field 
of Oats," "Androscoggin River," "After Sunset," and "Elms, 
East Livermore," do not make their appeal because of anything 
bizarre in their composition. 

Almost everyone is familiar with quiet rural scenes, but 
then not everyone is an artist, and so, because Mr. Washburn 
has the "gift to see," we have for our delight these little gems 
of art. 

It is gratifying to know that, defying the dangers of political 
revolution, he is at present working on a new Mexican series, 
which we have every reason to trust will be the equal of his 
earlier efforts, and may indeed even surpass them in beauty. 



132 




Elms, East Livermore, Maine (Catalogue No. 70) 




West Side Templo Parroquial, Taxco (Catalogue No. 2q) 
133 



CADWALLADER WASHBURN 

{In each instance the width is given first) 
JAPANESE SERIES 

i NATIVE RESTAURANT (5H * 3 l A) - - - - $17.00 

2 PARK, KYOTO (6 x ^/ 2 ) - - - - - - 17.00 

3 BRIDGE IN PARK, KYOTO (5x4) - - - 17.00 

4 CREEK IN THE WOODS, KYOTO (3H x s l A) - 1700 

5 BY THE SUMIDA RIVER, KYOTO (5X x 3^) - 17.00 

6 BRONZE LAMPS OF THE SHIBA TEMPLE, 

KYOTO (6^x934) ------- 25.00 

7 BUDDHIST TEMPLE, KYOTO (9^x6^) - - 20.00 

8 WINDING STEPS (5^8x3) - - - - - 14.00 

9 BURIAL PLACE OF SHINRAN SHONIN AT 

HIGASHIOTANI, KYOTO (534 x 4 K) - - - 1700 

10 TEMPLE ENTRANCE KIYOMIZU— DERA, 

KYOTO (4K x 6) ------- 20.00 

11 EXTERIOR OF TEMPLE AT KIYOMIZU-DERA, 

KYOTO (6 x 4 K) - - - - - - - 20 . 00 

12 FAMOUS DRAGON FONT OF KIYOMIZU-DERA 

TEMPLE, KYOTO (9x11^) - - - - 40.00 

13 TWIN IDOLS IN THE OUTSKIRTS OF TOKYO 

(5KX3K)- --------- 17.00 

14 STONE STEPS, NARA ($% x 3K) - - - - 17.00 

15 BRONZE LAMPS, NARA (5^ x 3 K) - - - 1400 

16 A FONT IN NARA (3H * 5 3 A) - - - - - 14°° 

17 IRIS GARDENS, HONKIRI (6^ x 4K) - - - 1800 

18 STUDY OF BRONZE DRAGON (6 x 4 K) - - 1700 

19 TEMPLE OF KITANO (6^x934) - - - - 25.00 

20 BY THE RIVER UJI (5^x334) - - - - 17.00 

21 BRIDGE AT UJI (5^x3) ------ I4 .oo 

22 BUDDHIST PRIEST ( 4 K x 6) - - - - - 50.00 

23 TOY MERCHANT (4X x 6) - - - - - - 35.00 

24 TOKYO BEAUTY (7X * 9H) - - - - - 45.00 

25 HEAD OF A NATIVE (5 x 6 l / 2 ) - - - - 17.00 

26 HEAD OF A MENDICANT (4^ x 6) - - - 20.00 

134 



MEXICAN SERIES 

27 TEMPLO PARROQUIAL, TAXCO (7^x11^) - $35.00 

28 TOWER OF TEMPLO PARROQUIAL, TAXCO 

(6 X Il3<) ---------- 35.00 

29 WEST SIDE OF TEMPLO PARROQUIAL, 

TAXCO ( 7 #xii#) ------- 35.00 

30 CHURCH IN CONTRERAS (5^x7) - - - 20.00 

31 GARDEN OF LA VALENCIANA, GUANAJUATO 

(7^4 x 11M) - - - - " " " " " 35 °° 

32 LA CAMPANIA (8x12) ------ 35.00 

^ WEST FAgADE OF LA VALENCIANA (8 x 12) - 35.00 

34 FRONT FAgADE OF LA VALENCIANA, 

GUANAJUATO (7^ x n#) - - - - - 35.00 

35 TEMPLO DE SALUDE, MIXCOAE (8x11^) - 35.00 

36 CATHEDRAL OF LEON (8x12) - - - - 35.00 

37 SAGRARIO METROPOLITANS MEXICO CITY 

(8x12) - - - - - - - - - - 40.00 

38 FAgADE, OF CHURCH OF NUESTRA SONORA 

DEL CARMEN, CELAYA (8x11^) - - - 35.00 

39 VIEW FROM COLONIA MIRAVAL (7^ x 3 H) - 5000 

40 ROAD TO COLONIA MIRAVAL, CUERNAVACA 

(iI^X 7^) --------- 100.00 

41 PORFIRIO DIAZ BRIDGE, CUERNAVACA 

(10x8) ---------- 100.00 

42 CALLE HIDALGO, CUERNAVACA (7^ x 3K) - 5000 

43 STONE BENCH, BORDA GARDEN, 

CUERNAVACA (11^x7^) - - - - - 100.00 

44 MEXICAN MENDICANT (4x10) - - - - 50.00 

45 MEXICAN SOMBRERO (6x9) 50.00 

NORLANDS SERIES 

46 ROAD NEAR ROUND POND (8^x6)- - - 20.00 

NORLANDS SERIES III 

47 AFTER SUNSET (7^x4^) - - - - - 15.00 

48 BOG CREEK, No. 2 (11^x8) - - - - - 20.00 

135 



49 WOOD NOTES (12 x 7K) - - - - - - $30.00 

50 CREEK FERNS (11^x6) ------ 25.00 

51 LIGHT AND SHADOW (8^x6) - - - - 20.00 

52 BEAR MOUNTAIN (8^x6) - - - - - 20.00 

53 FULLER HILL ROAD (7^x4)- - - - - 15.00 

54 ANDROSCOGGIN RIVER {Leeds Central, 9 x 6) - 20.00 

55 ENTRANCE TO WOOD ROAD (8^x5^) - - 20.00 

56 JAY BRIDGE ROAD (8^x6) - - - - - 20.00 

57 ANDROSCOGGIN BANKS (7^x3^) - - - 1500 

58 MARTIN STREAM MEADOW, No. 2 

(7^x3^)- --------- 15.00 

59 ANDROSCOGGIN RIVER 

{Gilbertville, y}4 x 3H) - ~ - - ~ ~ - I 5-°° 

60 SHOWERS {Fuller Hill, 7 J A x 3H) - - - - i5-oo 

61 FIELD OF OATS (7K x 3^) - - - - 15.00 

62 SUNSET GLOW (7^x3^) - - - - - 15 -°o 

63 CREEK FOLIAGE (4^x7^) - - - - - 15.00 

64 A GULCH (5^x9)- _-._--. 20.00 

NORLANDS SERIES IF 

65 A DEAD LOG (9^ x 7K) - - - - - - 25.00 

66 WIND (8^x6) _..___-. 15 .00 

67 BROOK AT BARTLETT'S MILL (8x5) - 15.00 

68 FIELD IN GILBERTVILLE (7^4x5) - - - 15.00 

69 FIELD IN SOUTH LIVERMORE (7^x5) - - 15.00 

70 ELMS AT EAST LIVERMORE (8^x7) - - 20.00 

71 SEVEN MILE CREEK (8 x 5) - - - - - 15.00 

72 ELMS AND MEADOW NEAR DEAD RIVER 

(8x5)- - - - - - - - - - - 15.00 

73 MEADOW BRIDGE (9 x 6 l / 2 ) - - - - - 20.00 

74 ELMS AT TOLLAWOLLA (9^x6^) - - - 20.00 

75 ROAD NEAR STRICKLAND'S FERRY (8x5) - 15.00 

76 MEADOW CREEK, NORTH JAY (8K x sH) - 20.00 

77 POOL NEAR TOLL YWOLLY (7^ x 5) - - - 15.00 

78 ROLLING COUNTRY, NORTH JAY {8}{ x 5K) - 1500 

79 ELMS AT SOUTH LIVERMORE (7^ x 10) - - 50.00 

136 



80 MAPLE TREE BY RIVER SIDE (7K x 10) - $25.00 

81 HIGH NOON AT MEADOW (6J< x 8) - - - 20.00 

82 JAY HILL (6><x8K) - - - - - - - 20.00 

ITALIAN SERIES 

S3 A STREET IN VERONA (3*4 x 4 K) - - - 17.00 

84 A NARROW STREET IN VERONA (3 x 6K) - 17.00 

85 A DOORWAY IN VERONA (4 x s l A) - - - 17.00 

86 ROMAN DOORWAY, VERONA (3^x4^) - 17.00 

87 CALLE DEI PIGALLE, VERONA {2% x $ 3 A) - 1400 
SS SQUARE IN PADUA (4 x $y 2 ) - - - - 17.00 

89 DOMES OF ST. MARK'S, VENICE (3^ x 4K) 1400 

90 CRUMBLING PALACE, VENICE (5K x 9) - 25.00 

91 GRAND CANAL, PIAZZA SAN MARCO 

VENICE (6x4^) .--.... 20.00 

92 PIAZZA SAN MARCO, VENICE (6^x4^) - 20.00 

93 NEAR THE OLD GHETTO, VENICE ( 5 K x 4) 15.00 

CUBAN SERIES 

94 MARKET PLACE, HAVANA (4 x5k,)- - - 1700 

95 SKETCH OF THE PORTADA DE LA IGLESA 

DE SANTO DOMINGO, HAVANA ( 3 H x sH) H-oo 

96 PORTADA DE LA IGLESA DE SANTO 

DOMINGO, HAVANA (4^x9^) - - - 40.00 

97 STREET IN HAVANA (6^x9^) - - - 27.00 

98 BUSINESS HOUSE IN HAVANA (9^x7) - 27.00 

99 HERALD SQUARE, NEW YORK CITY (5^ x 4) 17.00 
100 DREAMLAND, CONEY ISLAND ( 4 K x 6) - 20.00 



137 




139 




140 




THE celebrated painter-etcher, Mr. Herman A. Webster, 
was born in New York City in 1878, and although his 
family home is at present in Chicago, he himself has had 
his studio in Paris for many years. 

Graduating from Yale University in 1900, he made his first 
trip to Paris in the fall of that year, and, in the following spring, 
completed his first tour of the world by a trip through the Orient. 
Returning to the United States, he settled in Chicago, and de- 
voted himself to journalism, being for several years on the staff of 
the Chicago Record-Herald. 

The desire for an artistic career, however, became so strong 
that he went abroad a second time in 1904, enrolling himself, as 
many other American artists have done, as a pupil in the studio 
of Jean Paul Laurens. Mr. Webster first exhibited at the Salon 
of 1905 and in December, 1907, he was admitted to Membership 
in the Royal Society of Painter-Etchers, London. 

The appreciation of Mr. Webster's prints, however, has been 
so widespread that many of his finest etchings have become 
exceedingly scarce, and some of them at present are almost be- 
yond the possibility of securing. Such, for example, are "Le 
quai Montebello," Paris, "Le Pont Neuf, " "Notre Dame des 
Andelys" and some of the charming little plates of Rouen. Even 
many of his later etchings are difficult to come by, and the edi- 
tions of the earlier Frankfort plates are exhausted. 

Mr. Webster's latest etchings, done during the summer of 
191 2, at Strasbourg, Frankfort and Paris are not only fully as 
fascinating as the most successful of his former plates, but they 
mark an epoch, as one might say, in the development of the 
artist. By this we mean that the restrained effect, rather notice- 
able in some of his earlier plates, has given place to the free 
and flowing line of perfect assurance and control. 

One of the most beautiful of these newer prints, reminiscent 
in its charm and distinction of "Le quai Montebello," is "Au 
Soleil d'Or" Strasbourg. There is a bit of foliage in this print 
that is very beautifully drawn, and he would be a most exacting 

141 



critic who would not acknowledge the perfect proportions of the 
figure of the woman in the foreground; but the distinguishing 
characteristic of this etching, its chief glory in fact, is the marvel- 
ous sunlight, floods of it -palpitating -insistent -all pervading 
-creating the most wonderful illusion of atmosphere, and mak- 
ing of the print itself a masterpiece of art. 

"Le Vieux Marche, Marseille" is another of his new prints 
which possesses a decidedly unique charm, due in large measure to 
the skill with which the artist has handled a rather difficult com- 
position, and to the beautiful tone of the whole print. It is one 
of his strongest plates. 

That the artist's future accomplishment, as well as his past 
performance, will materially assist in placing our American 
school of painter-etchers in a secure and well-recognized position, 
is the expectation of his admirers and of his critics. 



142 




La Maison Meline, Paris (Catalogue Xo. ij) 




"Au Soleil d'Or," Strasbourg (Catalogue No. p) 



HERMAN A. WEBSTER 

{In each instance the width is given first) 
i OLD COURT, SACHSENHAUSEN (7x8^) - -$30.00 

2 THE BRIDGE (8>^ x S l A) - - - - - - 30.00 

3 THE LITTLE BRIDGE (5^x4) - - - - 20.00 

4 STREET OF THE THREE KINGS (4^x5^) - -'0.00 

5 DER LANGER FRANZ (3^x5) - - - - 20.00 

6 LOWENPLATZCHEN (6^x8) - - - - - 30.00 

7 L'HORLOGERIE-FRANKFORT (7 x 7^) - - 20.00 

8 SPITALPLATZ-STRASBOURG (8x7) - - - 20.00 

9 AU SOLEIL D'OR, STRASBOURG (8K x 7K) - 24.00 

10 COIN DU VIEUX MARCHE, MARSEILLE 

(j)4 x ii?4) - - - - - - - - -24.00 

11 QUARTIER SAINT JEAN, MARSEILLE (4K x 10X) 18.00 

12 LE VIEUX PORT, MARSEILLE (6x4^) - - 12.00 

13 LA MAISON MELINE, PARIS (6^x8^) - - 20.00 

14 LA VIEILLE ECOLE DE MEDECINE, PARIS 

(7^4X11^) - - - - - - - - -24.00 

15 NOTRE DAME DES ANDELYS (7x11) - - - 50.00 

16 THE BELFRY, BRUGES (3^x6^) - - 10.00 

17 RUE A MORLAIX (5^x7^) ----- 10.00 

18 AN OLD COURT, BOURRON (4^x5^)- - 10.00 

19 LA CHAUMIERE (6^x4^)- - - - - - 10.00 

20 LA PAYSANNE (2 x 4) - - - - - - - 10.00 



144 




145 




MR. CHARLES HENRY WHITE, author as well as artist, 
holds a place among American etchers more or less unique 
because of his characteristic etchings of American cities. 
Born in Canada in 1878, he obtained a large portion of his art 
instruction abroad, chiefly in Paris and Rome, and yet it is not 
his foreign plates which have given him his greatest renown. 

Speaking of his European prints, it is undeniably true that 
the "Bruges Series" are quite charming, and they render in a 
manner quite satisfying the quaintness of the old town. But 
as the artist himself says in one of those travel sketches which 
frequently accompany the publication of his etchings, (or is it 
the etchings which illustrate the text?), "All artists go to Bruges." 

But not all artists go to Salem, Baltimore, Richmond, Charles- 
ton, New Orleans; nor, having gone, would they have given us 
exactly what we have from the plates of Mr. White, namely: 
very clever prints, displaying in every line the skilled craftsman 
and in addition the special genius of the artist in their composi- 
tion. For Mr. White has the happy faculty of choosing just the 
right old bridge to sketch, just the right old corner-store or sleepy 
street, making each "series" of his prints complete, in that a bit 
of local colour in each is distinctly felt. 

There is an air of romance about such plates as "A Bit of 
Mount Vernon Street," Boston, "Saint James," Richmond, 
"The Sloan House," Charleston, or "The Balcony," New 
Orleans. Possibly the artist puts something of himself into these 
plates. At any rate, we know of one who was led into taking the 
trip to Charleston merely from having seen these prints of that 
famous old Southern city. How anticipation was more than 
fulfilled would take too long to tell. 

The artist's etchings of Chicago and Pittsburg are among 
the best which have been done of those cities, rendering as they 
do their restless ultra-modern spirit and life. 

Although the artist may, and doubtless will, continue to 
delight us with his sketches on the copper-plate, they can but 
add fresh laurels to a reputation securely founded. 

147 




The Sloan House, Charleston {Catalogue No. 56) 




The Valley of Unrest, Pittsburg {Catalogue No. ji) 




The Rectors, Baltimore (Catalogue No. 42) 



1 




Rue de l'Ane Aveugle, Bruges 

[Catalogue No. 71) 



149 



CHARLES HENRY WHITE 

{In each instance the width is given first) 
NEW YORK SERIES 
i HATTERAS FISHERMEN, FULTON MARKET 

( 9 ^x 7 K)- --------- $15.00 

2 FULTON STREET (6^xgK) - - - - - 20.00 

3 FULTON ARCADE (7^x6^) - - - - - 18.00 

4 FULTON MARKET (8^x7^)- - - - - 20.00 

5 SOUTH STREET, FULTON MARKET 

(10^ x 4^) - - - - - - - - - 12.00 

6 ERIE BASIN, FULTON MARKET (10 x 6#) - 15.00 

7 EAST RIVER BRIDGE, No. 1 (8# x 7X) - - 20.00 

8 EAST RIVER BRIDGE, No. 2 (o>< x 6#) - - 20.00 

9 THE OLD WHARF, No. 2 (4^x7) - - - 20.00 

10 A BIT OF BLEECKER STREET (6^x4^) - 10.00 

11 THE CONDEMNED TENEMENT (6K x 4^) - 20.00 

12 HUDSON STREET (6^x4^) - - - - - 15.00 

13 THE BOILER WORKS (9K x 7) - - - - 20.00 

14 THE SHIPSMITH (5^x5) - - - - - 10.00 

15 FIVE POINTS (7^x6)- - - - - - - 10.00 

16 THE TENEMENT (7^ x 10) - - - - - 20.00 

HARLEM SERIES 

17 THE IRON BRIDGE (7^ x 8) ----- 15.00 

18 BILL CONKLIN'S (9^x6^) - - - - 15.00 

19 THE KILLS (7^ X5K) - - - - - - 20.00 

20 MORRISANIA (6^x8^) - - - - - - 15.00 

21 HARLEM RIVER (834 x 434) - - - - - 15.00 

PHILADELPIA SERIES 

22 WASHINGTON MARKET (7 x 9^) - - - - 15.00 

23 CUTHBERT ALLEY (7 x 834) - - - - - 15.00 

24 WATER STREET HOUSES (83^x634) - - - 20.00 

25 ALONG THE SCHUYLKILL {&A*sH)- - - 20.00 

150 



CHICAGO SERIES 

26 LITTLE ITALY (5^x9^)- - - - - - $12.00 

27 QUINCY STREET (5^x11^) ----- i 5 .oo 

28 EXOTIC CHICAGO (5^ x 6K) - - - - - 25.00 

29 THE BASCULE BRIDGE (9^x7^) - - - 20.00 

30 GRANT PARK (5^x9^) - - - - - - 15.00 

PITTSBURGH SERIES 

31 THE VALLEY OF UNREST (10x5^) - - - 12.00 

32 SMITHFIELD BRIDGE (8J4 x 6J4) - - - - 12.00 

33 IN THE TOILS (10K x 5K) - - - - - 20.00 

BOSTON SERIES 

34 A BIT OF MT. VERNON STREET (5*^x7^) - 20.00 

35 BOSTON SLUMS {$yi x SH) - - - - - 20.00 

36 TEA WHARF (83 4 x 7) - ------ 2 o.oo 

SALEM SERIES 

37 CHESTNUT STREET (6^x8) - - - - - 12.00 

38 ESSEX STREET (4^x8^) - - - - - 12.00 

39 LOWER SALEM ( 9 }i x 6K) - - - - - 12.00 

40 LAFAYETTE STREET (9^x7) - - - - 20.00 

BALTIMORE SERIES 

41 ALONG PLEASANT STREET (9^x6^) - - 15.00 

42 THE RECTOR'S {$y 2 x 10^) - - - - - 14.00 

43 IN THE OLD QUARTER (8x6) - - - - 25.00 

44 LONG DOCK (7^x4^) - - - - - - 20.00 

RICHMOND SERIES 

45 THE OLD PORTICO (7^x6K) - - - - 20.00 

46 BELLE ISLE (8^x5^) - - - - - - 15.00 

47 RIVERSIDE PARK (7X x 5K) - - - - - 20.00 

48 OLD RICHMOND (6^x5^) - - - - - 1500 

49 SAINT JAMES --------- 15.00 

151 



CHARLESTON SERIES 

50 QUEEN STREET (5K x 6K) " " " " - $15.00 

51 STATE STREET SHOPS (9x5)- - - - - 20.00 

52 CHARLESTON (A dry point, 4X x 4X) - - - 25.0c 

53 THE PIAZZA (4x8) - - - - - - - 15.00 

54 THE BARBER'S SHOP (4^ x 6^) - - - - 18.00 

55 THE GARAGE (7^ x 5^) - - - - - - 18.00 

56 THE SLOAN HOUSE (8^x6^) - - - - 20.00 

57 TRADD STREET (5K x 8^) - - - - - 15.00 

58 THE CORNER STORE (3% x &i) - - - - 12.00 

59 THE HOUSE OF THE SISTERS - - - - 20.00 

NEW ORLEANS SERIES 

60 THE OLD SPANISH PRISON (7^x9^) - - 20.00 

61 AN OLD COURTYARD (6>£ x 9 K) - - - - 1500 

62 THE BALCONY, ROYAL STREET (334x734) - 15.00 

PARIS SERIES 

63 A BIT OF ST. ETIENNE-DU-MONT (6}4 x 8^) 16.00 

64 RUE DE LA MONTAGNE, ST. GENEVIEVE 

(7Kx6K)- - - - - - - - - - 18.00 

65 IN THE LATIN QUARTER U?4 x gtf) - - - 1500 

66 THE DERELICT (7X x 9 y 2 ) - - - - - 20.00 

67 DISMANTLED PARIS (6K x 5K) - - - - 1400 

68 RUE ST. JACQUES (5^x8) - - - - - 14.00 

BRUGES SERIES 

69 THE HALFTIMBER HOUSE (3^x8) - - - 12.00 

70 THE LACEMAKERS (4^x8^) - - - - 18.00 

71 RUE DE L'ANE AVEUGLE (5x11) - - - 16.00 

72 HOTEL DE GENES (6^x8^) - - - - 20.00 

73 THE OLD BRIDGE (5K x 6^) - - - - - 12.00 

74 LE QUAI VERT (6 x 5K) - - - - - - J 5-oo 

75 GHENT, A FRAGMENT ( 4 K x 9K) - " - H-oo 

VENICE SERIES 

76 THE WOODEN BRIDGE (4^x334) - - - 8.00 

77 THE GONDOLA YARDS (5K x 3H) " " - J 5-oo 



C B 78 4 



152 



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